The appeal of the film, aside from that utter weirdness, is how it finds that B-movie sweet spot between the tawdry and the serious. There are real technical accomplishments in the film, from the makeup to the cinematography by Karl Struss, who had been behind the camera for more respectable movies, like F.W. Murnau’s classic Sunrise (1927). And even is it qualifies as primo vintage camp, there’s a subversively playful bite to its allegory as well.
October 17, 2017