MUBI

The opening car race/game of chicken with oncoming traffic probably does not get the respect it should…as is the case for the film as a whole. This psychological thriller debuted after the decline of the two-decade era of American film noir, and only two years after Alfred Hitchcock’s
ultimate classic, “Psycho.” Cynicism, sexual motivations, mysterious and morbid figures, and eerie cinematography all mingled harmoniously to the sounds of an organ-heavy score. This film reeked ‘low budget,’ but it’s superb visual execution, ability to bring a story full-circle, ventures into the unknown, and naturally creepy settings resulted in one hell of a film. “Carnival of Souls” deserves more praise, and I raise a glass or two as a tribute…Cheers!

My favorite quotes:
John Linden: [pours whiskey in his crack-of-dawn morning coffee] What do you think, I’m an alcoholic? I just like to start the day off in a good mood.
Mary Henry: You must be hilarious by noon.

John Linden: [when Mary does not drink the glass of beer he ordered for her at a bar] What’s the matter? Don’t you drink?
Mary Henry: Not really.
John Linden: Well, I do. And not only do I drink really, I really drink.

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Strange that I’m attempting a mini-review even before I’ve finished the film, but I’m this way with horror—I just can’t sit still. It’s a very spooky film, which is not to say its a great film, but its surprisingly effective given the sparse dialogue, the relatively simple sets and modest (if I’m being generous) plot. Some shots have more mileage than they should—the haunted silhouette of the eponymous carnival in the distance is among the most memorable; others, like the scene in the department store is quietly affecting. The dialogue also intones much creepiness: Mary Henry (Candace Hilligloss) is told that she lacks ‘soul’; this of course suggests something entirely different than just musicianship. It’s moments like these, coupled with a two-note soundtrack (creepy organ, or silence), and a twist ending that must’ve shocked audiences for the time (itself a fairly big plot-hole, but thats besides the point) that make ‘Carnival of Souls’ perfect evening entertainment—as many have offered, much like a very, very good episode of ‘The Twilight Zone’.

Garbage, even for a B-movie. Never looked like a Bergman but looked like it tried to, and had the worst soundtrack ever recorded. so boring. dark shadows did the whole organ thing enough for the entire horror genre. The cinematography alone does not make a movie worth watching. There needs to be more story and character development if you want someone to give a damn about the character and stay until the end of the film. Glad this one was gratis.

Maddeningly uneven experience, even if it has an enjoyable highlight or three. With its wildily inconsistent performances, especially from the lead, and its ocassionally intriguing set pieces and scenes, “Carnival of Souls” seems tailor-made to be enjoyed by filmmakers and cinephiles moreso than a general audience.

Not a complete success or an overall enjoyable experience, even though its basic story, apparations and camerawork are endearing.

CARNIVAL OF SOULS is a truly creepy movie, especially for its time. What’s funny about it is that it has a complete recipe for failure as a horror movie. It has a decidedly non-scary location (Utah, unless you’re frightened of Mormons), it’s made by industrial filmmakers, it has wooden acting and awkward line delivery, and mistakes are noticeable here and there. Weirdly, all of these normally negative things only add to the strangeness and the creep-factor of this movie, making it a unique horror film. The story is something that has been borrowed from time and again, and the strange way people speak in this movie adds to the feeling of isolation that the protagonist is experiencing. It’s a genuinely frighting film in the TWILIGHT ZONE tradition, if you haven’t seen it, watch it immediately. It’s hard to see movies this good for free. Thanks Auteurs!

Perhaps not a great movie, but this movie is a wonder in many ways because it shows that a very effective film can be made by amateurs with little or no budget.

No, it probably won’t scare modern audiences (well, maybe those under 10), but it’s effectively creepy. The acting is not good, but it doesn’t matter. A big reason for the success is Herk Harvey as the main specter. Again, amazing what a little make-up and the right hairdo can do.

This low-budget film of Herk Harvey is a true cult classic! The story of a confused woman in trouble that finds herself to be ‘alive’ after a car accident, accepts a job as organist in a church but soon she is haunted by a mysterious phantom figure that seems to reside in an old run-down pavilion. And followed by ghosts, only to find out she is…. A haunting horror film with an eerie organ soundtrack of Gene Moore and with beautiful shots of Saltaire.

Bargain-basement horror filmmaking at its most effective, Carnival of Souls is the kind of film that makes me wanna pick up a camera, run to a location that inspires me, and shoot a film based around whatever plot happens to suit the evocations of my surroundings. Herk Harvey’s sole feature – detailing a woman’s (Candace Hilligoss, bearing a passing resemblence to Monica Vitti) strange misadventures and hallucinations after a car accident – isn’t exactly a model for narrative coherence, nor is it particularly accomplished in many departments ([spoiler]the corpse blinks in the final shot, for gawd’s sake![/spoiler]). But as far as capitalising on its locations and budget limitations (filmed around various spots in Kansas and Utah), and achieving scares by creating a feverish mood of antique creepiness and proto-Lynchian surrealism, it’s hard to beat. Scenes like the ‘mystery man’ played by Harvey himself (obviously an influence on Robert Blake’s character in Lost Highway) appearing on a highway at night, an ominous series of static shots around a church as the organist plays, and scenes at the empty carnival itself have a haunting, dreamlike power; one that increases throughout the film as it builds to an all-out phantasmagoric conclusion.

Perhaps it’s the fact that Carnival of Souls ‘clicks’ for me in such a big way, in spite of so many factors that should hold it back, is what makes it so special and inspiring. Seeing it eight years back after buying it on a whim from a secondhand bookstore has always made it feel like ‘my’ film, and it’s a feeling I get today, even with it’s newfound recognition as a horror classic. But it’s also a perfect example of what inherently conventional genre films can accomplish when their creators get a little inspired themselves – “soul” is the keyword here.

This cult psychological horror film remains interesting to me simply for the bravura independent filmmaking on display, made on the cheap in Utah and Kansas for less than 20,000 dollars by men whose day job – making how to instructional films for tractor companies – left them proficient in the ways of framing and editing. Stiff newcomer Candace Hilligross rises from the dead after a grizzly car accident, seemingly unscathed, but when she starts experiencing strange phenomena, like the appearance of a pasty-faced ghoul (director Herk Harvey in a creepy cameo) in her car window, we begin to suspect she wasn’t supposed to survive the crash. With few special effects, and only a gothic organ score to set the mood, Harvey has to rely on symbolic framing and basic editing techniques to make this nominal story scary, and thanks to his history as an industrial filmmaker, those white-faced goons, and a creepy abandoned amusement park at the finale, the film is able to overcome its terrible acting and limited budget.