Manages to be technically brilliant and camp fun at the same time. Fans of cinematography and composition will be impressed, at times it felt like Wenders was making a send-up of mid-century horror. As for the horror, it is genuinely creepy - but one suspects it would be more skin-crawling if you mute it - as the organ soundtrack feels dated.
Inventive, and has some great moments. But I feel that the ending doesn't shock as much as I'd hoped and therefore the film's pacing is not redeemed with its slow burn feeling like its worth it. Though easy to see why it was so influential - worth a watch.
America is at its best when it finds itself disturbing. Taking American culture as a psycho-geography assembled out of tropes, it's a film about those tropes coming apart and the spaces of psychosis that emerge from the gaps. Ultimately its America, and its representations, as a death cult. Its corny, the acting often plastic, and it's trashy. It's also beautifully shot, and its own artificiality suits it perfectly.
A beguiling, creepy film, in spite of the relative inexperience of most of its cast and crew, and arguably also in spite of its age. The Next Picture Show podcast dedicated a whole episode to this film (plus an episode where they compare it to David Lowery's A GHOST STORY), and I would highly recommend it: https://www.stitcher.com/podcast/the-next-picture-show/e/50926632
Considering how effective and influential it is, Carnival Of Souls STILL doesn't really seem to be as celebrated as it should be. And trying to praise it without going into too much detail is difficult, but essential to preserve the impact of the movie for many who have still not yet marked it off their viewing lists. A classic little horror movie that casts a very long shadow over the genre to this day.
Caligari in Marienbad. An overextended but assured play on spectral horror motifs with more than a passing nod to silent-era horror. Much of its attraction comes from the insistent score for organ and daylight horror thematics but for all this it’s generally derivative with a sagging middle section and a doctor on hand to guide things.
I'd been wanting to see this for a long time and it didn't disappoint. From the eerie organ soundtrack to the stark b&w photography, stagey performances and wide-eyed closeups, Carnival of Souls evokes the uncanny like few other films made before or since. I'm putting it in my personal pantheon somewhere near Eyes Without A Face and Murnau's Nosferatu.
In a movie like this, if you're a musician you surely plan organ in a church. And you're haunted by a nightmarish white-faced figure. And sometimes you lose contact with everyone around you. And this guy sitting in an armchair whose face you cannot see, is he really a doctor?
Uma simples e eficiente história, com boas atuações. A representação dos fantasmas é influente, precedendo os zumbis de Romero; a trilha é atmosférica e sinistra; a fotografia é competente, com momentos magníficos como a última visita ao parque; a edição é excelente em criar o senso de desorientação e fantasmagoria. Um clássico do baixo orçamento, do melhor que 1962 poderia oferecer.
Para la época de la filmación un personaje femenino como protagonista es excepcional, y mucho más lo que se plantea de las insinuaciones sexuales, y la posible blasfemia como parte del irrespeto a la iglesia. Amén de una música exasperante, el filme está bien logrado con momentos de encuadres y movimientos de cámara muy elaborados. Un filme que vale la pena ver en el contexto de "cine de terror" sin excesos...
A simple little flick, with straightforward B-movie screenplay&acting and some really good cinematography. It has some good ideas, but maybe they're too few to make a full feature film; and what's worse, each one of them is repeated at least two or three times, so the magic get totally lost and the plot loses any pace as well. At the end I was like: Ok.