The term “Zombie” and the concepts it conveyed did not really enter American conciousness until the publication of William B. Seabrook’s THE MAGIC ISLAND in 1929–but once established, it fired well-liked imagination, producing everything from a host of pulp fiction shorts to a fairly lethal mixture of rum and tropical juices. Released in 1932, THE WHITE ZOMBIE is generally considered to be the first motion represent on the subject–and it would lovely mighty region pop culture ideas about zombies, voodoo, and Hati for decades to approach.
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The film is engaging in several respects, not least of which is the fact that it an independent production, something rare indeed for a film of its era. Unfortunately, this fact also gave rise to a series of lawful battles between writer Kenneth S. Webb and producers Edward and Victor Halperin. What with one thing or another the film itself was considered lost from about 1935 until it resurfaced in 1960, when it once more touched off another accurate battle between the same parties and their estates. In consequence, and although it has indeed turned up at special screenings and on the late-late indicate, the film has never really been widely seen since its 1932 debut–and most of the prints available were graceful dire. This was certainly the case when I saw the film in a “expansive camouflage” film festival in the slow 1970s: the sound was dreadful, the visuals worse, and it was very difficult to philosophize what all the fuss was about.
Fortunately for fans of 1930s terror, THE WHITE ZOMBIE is now available in numerous DVD versions–but it is very great a case of “buyer beware,” for most of them are extremely dire. Roan Group has released an exceptional restoration of the film; PC Treasures has a reasonable budget release in tandem with the cult classic CARNIVAL OF SOULS. The Timeless Classics edition falls somewhere between the two: the age of the elements prove and it isn’t a patch on the Roan edition, but its a darn behold better than most.
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As for the film itself, even by 1932 standards THE WHITE ZOMBIE was not a “screamer” in the same sense as DRACULA or FRANKENSTEIN were; it is instead lyric, at times poetic in nature, disturbing in the same manner of an Edgar Allen Poe poem. The sage is quite simple: Madeline Short (Madge Bellamy) and Neil Parker (John Harron) have approach to Hati–and en route have met estate owner Charles Beaumont (Robert Frazer.) Beaumont falls in care for with Madeline; unable to convince her to leave Parker, he goes to zombie master ‘Murder’ Legendre (Bela Lugosi), who works his horrible spell upon her. But Beaumont soon finds himself at odds with Legendre, and Parker, with the wait on of missionary Dr. Bruner (Joseph Cawthorne) has situation out to rescue Madeline at all costs.
The cast is quite sparkling, and many critics judge that this is really Lugosi’s best performance of the early 1930s, surpassing his more renowned turn in DRACULA. Indeed, he is a mighty presence in the film, plain and corrupt and yet at times–it is difficult to describe–one sees the unexpectedly attractiveness of the man in both physical and psychological terms. It is a memorable performance. But the vast thing about THE WHITE ZOMBIE isn’t so noteworthy the record or the performances as “how the thing is done.”
The cinematography is simple, but it has a misty quality, and one is always aware of the texture of dismal and white; shadows are considerable in the film, and the overall gape is quite unlike anything to reach out of Hollywood up to that point–and even today it remains largely current. There is an elegance to the intention the scenes are staged and photographed that rarely occurs in any film of any era.
Modern viewers without essential interest in films of this period are likely to net THE WHITE ZOMBIE mannered and a bit slow–but if you have an interest in early sound films, and even more so in apprehension films of the 1930s, THE WHITE ZOMBIE is an primary in your collection.
GFT, Amazon Reviewer
This movie, which I own was the first zombie movie ever released, relies a lot on shadow and mood rather than action, which is sporadic, though intense. This film often bores fans of current film because they inquire of action to tedious them into senselessness rather than getting into the atmosphere of a film. Fans of classic movies will relish the texture of the film and the creepy feeling the film does a very generous job of instilling.
Madeleine Short (Madge Bellamy) and Neil Parker (John Harron, who appeared in minor roles in dozens of movies until his untimely death in 1939) have journeyed to Haiti to come by married. Once there, their host Charles Beaumont (Robert Frazer, who appeared in dozens of movies, though many of his roles were uncredited) falls madly in care for with Madeleine. Beaumont turns to Cancel Legendre (Bela Lugosi, who one year earlier created the standard for all future Dracula wannabes) for assistance. Legendre is a zombie master, and uses his abilities to turn Madeleine into a zombie.
Neil Parker is beside himself with pains because he thinks Madeleine is monotonous, but her death is only in appearance because of the drugs that Legendre venerable. Parker discovers that Madeleine may be alive, and enlists the wait on of missionary Dr. Bruner (Joseph Cawthorn) to track her down and rescue her.
Though the kill of the movie has some measure of predictability, the value of this movie is in the trip and not the destination. The movie has an eerie quality throughout, partially due to the sets and partially due to cinematography. Bela Lugosi’s piercing eyes are prominent and with a spacious veil television it is easy to scrutinize how intimidating his eyes can be. This movie dilapidated techniques that were ground-breaking at the time, including split screens and overlays. I am not clear how the director created the notion of the castle, but the beach scenes featuring the castle were outstanding considering this movie was filmed in 1932. The result of all these features is that the movie is very artistic and arresting to eye.
“White Zombie” is a relatively wearisome movie that relies almost completely on atmosphere. The action is dinky to brief moments, though intensity is essential. For example, there is a scene with a zombie falling into a grinder. The scene is very graphic and the sound effects are realistic and disturbing. Fans of gothic apprehension, Bela Lugosi and zombie movies will gather this movie a treat and one they will want in their collection.
Use caution in buying this movie. I know that many people have tried, and failed, to win a wonderful copy of this movie off the internet. For some reason the sound off these copies is unpleasant. This movie is one that you should probably consume as a DVD if you wish to have it in your collection. Other reviewers deem the version by the Roan Group to be the best available version, and it is (currently) cheaper than this version. I have not seen the Roan Group version myself, so I prefer this assertion based on the expertise of reviewers who have seen both versions. You may wish to do a bit of research before deciding which version meets your needs the best.
Enjoy!
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