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A mysterious old woman named Malla (Estelle Hemsley) who claims to have been brought to America 140 years ago as a slave approaches endocrinologist Dr. Paul Talbot (Phillip Terry) and promises to reveal to him the secret of eternal youth if he will fund her final trip back to Africa, so that she can be beautiful and young for one last night before she dies.
Paul is unhappily married to an alcoholic, June (Coleen Gray), who is 10 years his elder. They follow Malla to Africa and witness a secret ceremony of the Nando tribe that utilizes orchid pollen and a sacrificial male's pineal gland secretions. The secretions, extracted from the back of the neck via a special ring and mixed with the pollen, temporarily transform Malla into a young, beautiful woman.
After discovering that her conniving husband only brought her along as "a guinea pig who could talk," June takes revenge, choosing Paul to be sacrificed so that she can use his pineal gland extract to become young again herself, though Malla warns her that the transformation will not last long. She steals the ring and pollen, and escapes with her jungle guide. The next morning, she finds she is old again, and kills her jungle guide for his pineal secretions.
June makes her way back to America. Masquerading as her own niece, Terry Hart, she keeps herself young by picking up men and killing them for their pineal extract. But each time the potion wears off, she is older than she was before. As Terry, June becomes enamored of her lawyer Neil Foster (Grant Williams), a man half her actual age. She kills his jealous fiancée Sally Howards (Gloria Talbott), draining her pineal gland and eliminating Sally as competition.
When the police come to investigate the murders that June has committed, she uses Sally's pineal gland extract but finds that it does not work because it is from a woman. Before the police can arrest her, she throws herself out her bedroom window, crashes to the ground and dies. When they see her body, it is much older and much more shriveled than ever.
A 1960 American Black & White horror film (a/k/a "The Leech") directed by Edward Dein, produced by Joseph Gershenon, screenplay by David Duncan, story by Ben Pivar and Francis Rosenwald, cinematography by Ellis W. Carter, starring Coleen Gray, Grant Williams, Gloria Talbott, Phillip Terry, John van Dreelen, Estelle Hemsley, Kim Hamilton, and Arthur Batanides.
Its portrayal of Africa is typical of Hollywood in this era, with its mystical rites with wildly gyrating natives, its references to indigenous tribes as 'savages', and its 'good' locals escorting the outsiders who die or flee in terror. But, the Malla character is an intelligent, well-spoken, class act, the type of person of color not often seen in horror films of this era. Malla has a heart of gold compared to the Caucasian characters in the film, who are all despicable human beings.
This was Joseph Gershenson's last film as a producer, but he would continue on as the head of Universal's Music Department until 1969.
Stock footage of African wildlife and tribal dances was taken from the jungle adventure "Tanganyika" (1954).
The exterior wide shots of the jungle safari following a river in Africa were filmed on the Universal Studio's backlot, and the hills visible in the background border the Hollywood Freeway.
It premiered in Los Angeles on June 15, 1960. The pairing of "The Brides of Dracula" (1960) and this, billed as a "Double Chill and Thrill Show", was one of several examples of Universal-International releasing UK horror films with inexpensive, quickly-produced second films to fill double bills in the US.
In the UK, this film was given an X-certificate by the British Board of Film Censors, following their viewing of the film on 14 March 1960. The X-certificate limited the exhibition of the film to persons over age 16.
Film scholar Vivian Sobchack writes, "It is now a commonplace to acknowledge the complexity of ageism and sexism in white heterosexual culture in the United States". Taking the relationship of June and Paul, Sobchack notes that "in a sexist as well as ageist technoculture, the visibly aging body of a woman has been and still is especially terrifying, not only to the woman who experiences self-revulsion and anger, invisibility and abandonment, but also to the men who find her presence so unbearable they must, quite literally, disavow and divorce her". Sobchack further points out the additional complexity of the "double standard" of the aging man and woman, naming it as a "standard that elicits a complex of engendered emotions from both the women and the men who bear it: fear, humiliation, abjection, shame, power, rage, and guilt.
This solidly produced, ably acted spine-tingler is one of several low-budget rejuvenation films of the early sixties. Dein, a Poverty Row regular, is a "business-like" director and Gershenson a "budget-stretching" producer who, combined, elevate this offering several cuts above the norm.