★★½ /35mm/ Tourneur infuses Bronte's tale with witchcraft and island myths, but is unable to move the story’s main plot of a man’s guilt and the rot of family secrets beyond its low budget Hollywood dramatics and stilted acting. Yet Tourneur’s stylized sequences, oddly isolated, are stunning, the moonlight journey to the voodoo ceremony with its frightening tone, the dead goat, the emaciated man with his dead eyes.
Bajo la excusa del melodrama, Tourneur lo que traza es una suerte de exploración en torno a diversas cuestiones, sugeridas algunas, como el vudú, la dicotomía ciencia/magia (o epistéme/doxa), o el misterio. La esclavitud, como un zombie, inmoviliza, es un movimiento entre la vida y la muerte. Y es interesante notar ello desde una mirada feminista. La mujer, de la misma manera, se le da el papel de un zombie,...
Like someone stepping back from a Universal horror movie to ponder it and dream in its mood. I especially liked the strangely threatening encore performance by Sir Lancelot. And the St. Sebastian figurehead is such a great image, serving to make the film more somber than its horror contemporaries.
Something of a difficult watch - more of a series of vaguely creepy vignettes than a full on horror movie - but the ending transforms it. The final five minutes are a free-form abstract tone poem of considerable power. And Carrefour is indeed a superb zombie. One gets the feeling it will improve both in memory and on repeat viewings...
For Halloween, a trick-or-treat bag of deceptively complicated themes: the idea of ugly history (personal and otherwise) as a zombie that's no longer living but not yet dead; and the idea of white colonists succumbing to the culture they try to colonize. It's not the perfectly stacked triumph of Cat People, but it's Lewton's second best, and a sign of how much he wanted to ponder, even if not in an organized way.
An overlooked little horror of a masterpiece. Voodoo Zombies, and the pace and music made it actually somewhat spooky. Certainly more than anything that had come before it. On top of that the music and cinematography is great, truly a standout classic horror.
Una atractiva historia que contiene muchos temas oscuros sobreentendidos. Es decir, es de esas películas que se cuida mucho del veto, sin embargo, es desvergonzada al invocar tópicos perversos. Vudú, traición fraternal, asesinatos, necrofilia? La muerte como un tema que redunda. Tiene además un gran manejo técnico de la luz. El filme de Tourneur se figura como una proyección de lo gótico, surreal y expresionista.
Grateful for this discovery. And perhaps the awareness it drew towards the idea of poetic horror. This being my second Tourneur, I instantly was won by his strange eloquence and atmospheric layering. The concepts he shapes could so easily fall into schlock and bore but instead have this sensational dignity to them. The images linger and the scenes are shrouded in enough mystery that you cannot completely escape.
More a drama in a spooky setting and with a gothic feel than a straightout horror film. Tourneur’s film offers a surprisingly (for me anyway) balanced view of voodoo even when it has the “necessary” horror zombie folklore, and it’s also well aware of the historical context which it treats with some respect. Enchanting if not chilling movie.