User reviews

American G.I.'s who trespass in on a forbidden Hindu ceremony are relentlessly hunted down by a beautiful woman who has the power to metamorphose into a snake.

While the film gets a bit slow in the middle, the end is exciting and so is the beginning. What made this film great, for me, was the talented snake dancer from the cult. Her face is obscured, but her body is capable of amazing bends and twists.

One of the only really big drawbacks to the film is that the audience knows what is going on from the very beginning. We see the men try to solve a mystery we already know. The urge to yell "you are so stupid" is hard to suppress. And they really are not that stupid -- they simply have not reached the illogical conclusion we already know to be true.

In Asia, six airmen from the American Air Forces break in a secret cult of Lamians that worship a cobra goddess. However they are found in the temple and need to flee from the ceremony. They are cursed by the priest that sentences them to die, one by one. Back in New York, Sergeant Paul Able (Richard Long), who will marry the actress Julia Thompson (Kathleen Hughes), and G.I. Tom Markel (Marshall Thompson), who also loves Julia, are best friends and roommates. When Tom stumbles upon the mysterious Lisa Moya (Faith Domergue), they immediately fall in love with each other. Meanwhile their friends are dying and soon the coroner discovers snake venom in their blood.

"Cult of the Cobra" is an entertaining horror film with the storyline of a group of arrogant American G.I.s that breaks in a cult without any respect and are cursed by the priest to die. The gorgeous and exotic Faith Domergue is a goddess with the ability of turning into a cobra that travels to New York to revenge the worshippers. The negative point of the story is that she falls in love with one of the trespassers. My vote is seven.

Title (Brazil): "Maldição da Serpente" ("Curse of the Snake")

On paper, this was arguably the least promising entry among Universal's second exclusive "Sci-Fi Collection" – but it turned out to be quite enjoyable in its unassumingly campy way, lying somewhere between the exotic fancy of Universal's earlier COBRA WOMAN (1944) and the cautionary Gothic of Hammer's THE REPTILE (1966). Director Lyon generally cut his teeth on a variety of Western oaters and, while not exactly inspired by the material at hand, elicits a very good performance from his leading lady Faith Domergue – a former protégée' of the legendary Howard Hughes. The story starts at the tail-end of WWII where six G.I. buddies, looking for some kicks before leaving Asia for home, attend a clandestine ceremony held by the titular sect where no reptiles are actually worshipped – instead we have a woman painted like one who comes out of a large vase and crawls around on the floor! Suspicious Richard Long, embittered (and incredulous) Marshall Thompson and a carefree David Janssen comprise half of the band of infidels who incite the wrath of the cultists by their irreverent presence (foolishly, one of them photo-graphs the ceremony, even if he had been repeatedly warned beforehand not to); needless to say, the proverbial curse is invoked on them by the High Priest which is subsequently enforced when they return to the United States. In quick succession, four of them get offed (including bowling alley owner Janssen who expires in a fairly spectacular car crash) after having a close encounter with a cobra; their demise coincides with Thompson's meeting with his sensuous but enigmatic neighbor Domergue. There are virtually no transformation scenes (or, rather, only in silhouette and via a quick dissolve to boot!) and we only get a good look at the large cobra during its last attack backstage in a theater, where it eventually receives its come-uppance by being pushed out a high window by Thompson (for whom the conflicted Domergue actually almost jeopardized her mission!)...and which is just as well, since there is no creature on earth that I loathe or fear more! Incidentally, I was somewhat bugged by the fact that when the dead snake inevitably regains human form, it is unaccountably dressed in the black gown Domergue wore prior to her demise!

I came across this movie by accident as part of a collection. Not reading any reviews ahead of time I was surprised to see so many well-known actors; then I realized this is 1955 and a lot of them were just starting.

American G. I.s who trespass on a cult called Lamia.

Lamia - a mythical monster, with the body of a woman or with the head and breasts of a woman and the body of a snake, said to prey on human beings and suck the blood of children.

You know what happens next as they get cursed, and someone must pay.

Great formula and suspense; we get to see the shadow of metamorphosis and sometimes even root for the misunderstood dispatcher.

Trailer - "From halfway around the world she had come to make friends with five unsuspecting young men. And when she walked in the night, death followed swift and violent."

What's the first behavior rule when you're visiting a faraway continent – particularly Asia, Africa or South America – that culturally speaking differs a lot from your own? Duh, don't interfere with local religious movements and/or voodoo cults, because they WILL come after you and they WILL find you, even when you consider yourself to be safe back home again. "Cult of the Cobra" is a charming and fairly entertaining 50's occult thriller, but it's certainly nothing special or unique. In fact, the plot is quite derivative of the Jacques Tourneur/Val Lewton classic "Cat People" (undeniably one of the greatest horror milestones ever made), since both stories revolve gorgeous women living with the ability – or is it curse? – to transform into a deadly animal. Six American members of the same Air Force unit spend a few touristy days in an Asian country (my best guess would be either India or Malaysia) and bluntly pay a snake charmer big money to secretly attend a gathering of the infamous Lamian cult, of which the members supposedly change themselves in snakes and back. Naturally they get caught, when the dumbest boy of them all takes a photograph, and only narrowly escape. Unaware they've been placed under a curse, the six friends start being killed off one by one when back in the United State. Moreover, the mysterious accidents began simultaneously with Tom acquaintance with an introvert exotic beauty living across the hall. "Cult of the Cobra" benefits the most from Faith Domergue's performance as the oddly seductive Lisa (she's a lot better here than she was in "This Island Earth" or "It Came from beneath the Sea") and a couple of imaginative camera gimmicks, like for example snake POV shots and nice use of shadow effects. Unfortunately, there are also several overlong and tedious scenes and not a single one of the male protagonists deserves any of your sympathy. Especially Tom is a pretty loathsome guy, since his behavior is obtrusive and aggressive towards women and jealous towards his own friends.

The beginning when the snake charmer offers to show us "She who is a snake" for 100 dollars, followed by a well done and costumed dance scene, is good. The ending is suspenseful and quite good. Unfortunately, everything in between is mush. An effective performance by Faith Domergue as a cult leader who has the instincts to be more humanistic (but doesn't quite know how) cannot overcome the blandly directed, badly lit, overly padded middle hour-plus of this movie. Unfortunately the producers are too cheap to show any cult activity or morphing scenes during the long middle, instead all is only shadow or off screen except at the beginning and the very end.

The five future TV stars who portray potential cult victims are all capable and watchable but their efforts are mostly swallowed up in the long dreary middle of the movie. Many familiar faces are also present such as first class actor Walter Coy (The Searchers '56), and also Bing Russell and Ed Platt.

I expected more from a Universal horror movie. This film suffers from lack of style, imagination or excitement but you will be pleased to see the talented and enjoyable cast.

This motion picture is more remarkable than what I thought. Although it is obviously a simple B product, it seems there were intentions to turn it into something more ambitious, in the line of "Cat People" (1942). It is true that Lisa Moya —the cobra woman played by Faith Domergue— is not as a developed character as Simone Simon's Irena Dubrovna in Tourneur's classic, and the erotic elements are not as strong, but Lisa shows anguish and pain as she seems to be in love with one of the American soldiers she has to kill for desecrating the cult of the cobra. Besides, the film has other resonances today: maybe in the pre-Vietnam time it was made (1955) it was taken for granted that all American soldiers in service abroad were very cute guys who meant no harm as they fought for "democracy", but today we know how things have always been with troops from any nation in invaded countries, and how often they have victimized their people. And last but not least it is interesting to watch all these future TV male stars together: Marshall Thompson, Richard Long, William Reynolds, Jack Kelly and David Janssen.

Richard Long, David Janssen, Marshall Thompson, Jack Kelly, and William Reynolds are four G. I.s on terminal leave in India. Looking for a souvenir, they bribe their way into the ceremony of a snake cult. When they are discovered, they are cursed with death, one by one, in the form of Faith Domergue, who follows them back to the US and kills them in the form of a cobra.

This is one of those 1950s Universal horror/scifi movies that, in the hands of someone like Jack Arnold, would turn out to have something sensible and even witty to say about the way we lived in that decade. In the hands of competent but uninspired Francis D. Lyons, it turns into a decent thriller which, if it had anything to say except "Don't be boorish", I can't see it.

Set in 1945, six American GIs crash a cult that worships snakes, and are threatened to be killed, one by one, for their misdeeds. Back home in New York City, their fates start to unravel. Faith Domergue is amazingly beautiful, and most alluring, as an Asian "Cobra Woman", an instrument of death. Despite his third billing in the film, Marshall Thompson is her co-star, giving a strong performance as the GI who falls for her, and proves her ruin.

Cinematography by eventual Oscar-winner Russell Metty is amazing: In one arresting scene, after Faith professes love for Thompson but can not kiss him, he leaves her apartment and she sits - the door's closing giving a half-shadow on her face, as if to reflect her dual torment for him between love and as a hit woman. He and the rest of the cast, Richard Long, William Reynolds, Jack Kelly and David Janssen, became more successful as television stars. Kathleen Hughes is also on hand as a pretty blonde love interest. Not much is made to recreate the era, it's definitely 1955, via the clothes, makeup, hairstyles, etc.

But as in most of Universal-International's decade of science fiction/horror classics, which hold up better (and are re-shown on television and released to VHS/DVD/Blu Ray) than their other output, save a few Douglas Sirk dramas, westerns, etc., it's well-written, directed, scored, paced and acted.

Cursed by a priest (Edward Platt, 'Chief' from 'Get Smart') after sneaking into a secret snake-cult ceremony, six GIs begin to mysteriously die. The story is a by-the-numbers horror-thriller and is very similar to the superior and much more moody 'The Cat People' (1942). The GIs, who include future TV stars David Jansen and Jack Kelly are fine in undemanding roles but Faith Domergue, while pretty enough, lacks the exotic allure that made Simone Simon's character so compelling in 'The Cat People'. The scenes at the cult meeting of female contortionist 'dressed' as a snake are the best part.

Six army buddies decide to do some sight-seeing among a cult of shape-shifters when they should have stayed in the bar and had a few more beers.

The movie's not as bad as the title suggests, thanks mainly to enthusiastic performances from Thompson, Kelly, and Long. You might expect them to walk through their parts in a low budgeter like this, but they don't. Instead they inject needed vitality into the far-fetched premise. Now, if Domergue could just suggest some menace in an otherwise deadpan performance as the snake lady, we might get a hint of a coming shape-shift. No wonder director Lyon has to use a pin light on her expressionless face to indicate she's no lady after all.

The bowling alley sequence is the movie's only scary part. Too bad Lyon doesn't play up the suspense in the other stalking sequences. Instead, we go from snake shadow to dead body, leaving out the scary part. Then too, I wish they had more than one staircase street set. If I catch this flick again, I'll try counting the times they use and re-use it. In my book, the movie isn't bad enough to make it as camp. Instead, it's a not-very-good horror flick, mainly because of Domergue. But at least the guys went on to starring success with TV.

Not since the Paul Dupree trilogy of 1943-44 that was really only good for one entry had Universal invested in a female menace that likewise would transform from woman into beast, so in that way 1955's "Cult of the Cobra" (working title "Cult of the Serpent") was a look back on reliable horror tropes actually set in the closing days of the Second World War. A close knit group of six GIs stationed in Asia (Burma according to the script, unspecified in the film) meet a member of the Lamian cult of snake worshippers, eager to see one of their ceremonies for evidence of man into snake. A striking dance sequence turns out better than expected, a clearly female form writhing out of a large basket to creep up the leg of a potential male victim, spinning in circles until the fatal bite that claims his life. Unfortunately, the drunken Nick (James Dobson) goes against strict orders of no photographs, one snapshot and all hell breaking loose, their trusting guide murdered and the high priest proclaiming a death curse upon them to avenge the cobra god. Nick was several steps ahead of the others, found with a bite mark on his neck (the stolen basket now empty), the venom drawn out in time for him to be well on his way to full recovery before morning. During the night we get a snake's eye view of its attack on luckless Nick (the same bubble technique used for the Xenomorphs in "It Came from Outer Space"), his comrades dumbfounded to learn of his death before they leave for home in New York City. Marshall Thompson's nominal hero is Tom, jilted by lover Julia (Kathleen Hughes) for roommate Paul (Richard Long), quickly finding a replacement in Lisa Moya (Faith Domergue), dark haired neighbor across the hall, newly arrived in town without a clue about city life. One by one the male cast members bite the dust until only Tom and Paul are left, Tom a firm disbeliever in Lisa being the snake goddess come to dispatch them, the finale set in a Broadway theatre where the truth is finally revealed to his horrified chagrin. Throughout its small screen reign this film proved a comfort to veteran TV series watchers, viewing several top stars in early roles: Richard Long from THE BIG VALLEY and NANNY AND THE PROFESSOR, Marshall Thompson from DAKTARI, Jack Kelly from MAVERICK, and particularly David Janssen from THE FUGITIVE and HARRY-O. Faith Domergue had that mysterious exotic look that often made her difficult to cast, able to bring everything to the table required here yet ultimately defeated by the lack of substance. This was by far her highlight year, also appearing in "This Island Earth," "It Came from Beneath the Sea," and "The Atomic Man." Hammer's 1971 "Vampire Circus" would also capture the sexual connotations of humans transforming into beasts, more subdued in black and white but still quite effective ("Abbott and Costello Meet the Mummy" would try a similar looking nightclub sequence, 1972's "Night of the Cobra Woman" a quasi remake from the Philippines). The trailer puts forth a more daring explanation for its alluring lead in their definition of Lamia: "the head and breast of a woman, the body of a serpent."

Francis D. Lyon directed this horror tale that begins after WWII ends, where six American G.I.s,(among them Richard Long, Marshall Thompson, and David Janssen) stationed in Asia sneak into the secret ceremonies of a cult of snake worshipers, where they see a snake turn into a woman(or so it seems) they are discovered but escape, though the cult leader curses them with their avenging snake goddess. When one of them dies shortly later from a snake bite, they dismiss it as coincidence, but when they return home, and more start dying, it's obvious that something followed them home. Could it be attractive newcomer Lisa(played by Faith Domergue)? Interesting premise mishandled in failed thriller. No attempt is made to recreate a post-war feel, and even worse, Faith Domergue is far too human to be believed as anything else, though the acting is otherwise fine.

I really like this movie, but most reviews that I see seem to trash it. It has an excellent cast of B movie stars, who are probably trying at this time to get recognition. They are Faith Domergue, Richard Long, David Janssen, Jack Kelly and Marshall Thompson. Here is a quick synopsis of the movie:

Stationed in Asia, six American G.I.'s witness the secret ritual of Lamians (worshipers of women who change into serpents). When discovered by the cult, the High Lamain Priest vows that the Cobra Goodess will avenge herself. Once back in the U.S., a mysterious woman enters into their lives and accidents begin to happen. The shadow of a cobra is seen before each death.

Faith Domergue (better known as "Dr. Ruth" in THIS ISLAND EARTH) is the only reason to watch this film. The story is very thin, and once the Air Force buddies return to the States with a Cobra Curse upon them the action is just a waiting game. See Faith the Snake Woman and try to pretend the rest isn't happening.

One of my sci-fi/horror/fantasy reviews written 50 years ago: Direct by Francis D. Lyon; Produced by Howard Pine for Universal-International Pictures release. Screenplay by Jerry Davis, Cecil Maiden and Richard Collins; Photography by Russell Metty; Editor by Milton Carruth; Musical Director: Joseph Gershonson. Starring: Faith Domergue, Richard Long, Marshall Thompson, William Reynolds, Kathleen Hughes, Jack Kelly, David Janssen, Myrna Hansen, James Dobson and Edward Platt.

Horror-mystery combo with an Eastern cult and a snake lady whipping up superstitious feelings. Features some white nightgown action.

After unintentionally insulting a sacred ceremony while overseas in the war, a group of soldiers return back to America and find themselves stalked and killed by a strange creature with the powers of the cult inflicted upon them.

An overall enjoyable 50s Horror effort that's better than expected but still mildly flawed, the best part here is the film's rather entertaining attack scenes. Using the camera to showcase the snake's approach is quite nice by getting around the troublesome topic of how to show that in the time-period while not really doing anything graphic or such, and several of them get pretty creepy especially the apartment attack. It's also a lot more modern-feeling than expected, which is due to utilizing the modern theme in this of the revenge-rampage of the cult to set-up the later actions, which is still being done nowadays and gives it a nice touch, as do the scenes inside the meeting which give it a creepy middle-eastern vibe that works well in making it seem foreign and exotic. There's some flaws here, including the conflicted agent of the cult storyline that's a cliché by the time it was featured here, and comes across moreso even now and seems shoehorned into the film for no reason, as well as the cheap special effects that really denote the low-budget nature of this one quite clearly. It's not all that bad, but it's definitely not all that great either.

Today's Rating/PG: Mild Violence.