The Undead

I have seen this weird little movie twice. The first was on MST3K and then I saw the straightforward version on AMC. I must say that this is the only movie I've seen on MST3K that did not fully deserve it's treatment. Granted there are a lot of problems with the film. The perfomers, for the most part, were mediocre. But not so bad as to make the film unwatchable.

The production values had the distinct odor of cheese to them, but what can you expect from circa 1957?

The plotline is interesting. A mad scientist hires a street hooker to be a guinea pig on his experiments on past life regession. He transports the woman to 16th century Europe where, in this incarnation, she is a witch. The woman has to make a choice of whether or not to allow her past incarnation to die so her future lives can come into being-or stay in the past to live with her lover. Of course this guy is such a twit, death might be preferable to a lifetime with him. So maybe she really had no choice, after all.

What makes this so interesting is that the whole thing had a anachronistic new-agey quasi-feminist tone that is about ten years ahead of it's time. I actually found myself ignoring Mike and the 'bots and trying to concentrate on what was going on in the film. It's the first time that had ever happened. When I saw the non-MSTie version I actually grew to like it. Check it out. You might be surprised.

I saw The Undead many years ago and sad to say before writing this review I got to see it again as part of Mystery Science Theater. No doubt Roger Corman did a whole lot of Thanksgiving specials especially in his early career. But I always rather liked this paradoxical film about hypnotism and travel. And of course a scientist's curiosity which backfires on him in a most peculiar way.

Pamela Duncan is the subject of hypnosis therapy by doctors Maurice Manson and Val Dufour. She's a hooker, but when we first meet her she's under and regresses back to a life in the first millenia AD where she's been condemned to be a witch and scheduled to die. Her mind goes back to that past and she escapes the headman's ax.

Which creates a paradox because if her past life doesn't die it puts her future lives in jeopardy. Knight Richard Garland who's earnest, but a little thick loves the past Duncan and wants to do the knight errant thing and save her. Real witch Allison Hayes has a thing for Garland and doesn't stand a chance while she lives.

Fascinated by the paradox and the drama Dufour regresses himself through hypnosis to see how it all unfolds and meets none other than a medieval Satan himself played by Richard Devon. He also is watching the drama unfold in fact he recognizes Dufour for who he is and states plainly that he is the critic and let the play continue.

No doubt Roger Corman was influenced by all the publicity of the Bridey Murphy controversy and the book and film that was made about it. Of course this is shot on a dental floss budget and it shows in spots, but only rarely.

I waited for years to see this again and review it and despite the MST snide comments during the film I still enjoyed it though Citizen Kane it ain't.

This is the story of Diana Love (Pamela Duncan), who undergoes hypnosis and recounts her past life. We are whisked away to olden times, where Diana -now known as Helene- encounters all manner of dangerous situations after being accused of witchcraft. This gets the attention of a real witch named Livia (Allison Hayes), who is none too pleased. From this skeletal storyline emerges the astonishing magnum opus known as THE UNDEAD!

Utterly absurd and completely bonkers, this movie shows what Director Roger Corman was capable of while channeling William Schlockspeare. It could be seen as the sister film of Ed Wood's GLEN OR GLENDA, or simply as a histrionic explosion, complete with nonsensical roles for Billy Barty and Dorothy Neuman. Thankfully, Corman found filler parts for Bruno VeSota and Dick Miller as well.

Extra points for Satan (Richard Devon) and his lovely graveyard dancers!

This wonderful shambles makes us weep with joy! The incomprehensible ramblings of Smolkin (Mel Welles) shall echo through our souls forever...

Yeah, that's right, I like the grave digger AND his incessant singing. Everyone calls him mad, MAD, I say!--but his little ballads are always right on point. He is very reminiscent of the Fool in King Lear--the observer whose supposed simple-mindedness allows him alone to comment insightfully on the madness of the others.

Also, I like movies that teach me things. Like that women in the fifties somehow had both 14" waists and, well, GIGANTIC BREASTS! Weird science, man. It's a wonder that woman didn't snap in two when she stood up.

I like MST3K, but this movie really does deserve more credit than they gave it. The premise is pretty daring for 1957, and like the earlier film I Married a Witch, this movie forces males in the audience (and probably a few of the women) to feel physical attraction to, and thereby sympathy for, a witch. The actress is really very extraordinary to see. Sympathy in the 1950s audience is also created for a prostitute, another "bad" person, not only by emphasizing her looks but by making her (or, rather, her French incarnation) the most noble character on the screen. The people who sell their souls to Satan, and celebrate a forbidden mass, also come across as basically sympathetic figures, because of their miserable fortunes in a difficult, repressive society. And The Undead is almost aggressively feminist, even, with the bad witch appearing as a much stronger figure than Satan, and the male doctor who manipulates the poor prostitute ultimately looking quite awful. Apart from all this anti-social artistry, the atmosphere is evoked well, and the evocation of lawlessness and life-beyond-respectability is very effective.

I admire The Undead and encourage people to see the film without robots in the way.