Zombies on Broadway

Somewhat tepid but occasionally funny as Brown and Carney do their best to be RKO's Abbott & Costello. They play press agents for a nightclub who promise a "real live zombie", which their mobster boss insists they produce. This leads them to San Sebastian, Bela Lugosi, and the guy who was the zombie in "I Walked with a Zombie" and other films. Many scenes are played very straight -- of course, with bad jokes and puns thrown in. Lugosi, in particularly, is asked to play everything straight as a scientist after the secret of zombie making.

Uninspired, but Anne Jeffries does look great.

Apparently this film was put together partly with leftovers from the classic Val Lewton film "I Walked With a Zombie." Even the title is somewhat similar and just about as ridiculous. Sir Lancelot is the calypso singer in both movies singing songs that partly predict what has happened and what is about to happen. The main zombie is played by the same actor, Darby Jones, using the same makeup. The stage setting for St. Sebastian Island looks similar to the setting for "I Walked With a Zombie." In some ways "Zombies on Broadway" is actually a parody of "I Walked With a Zombie" and of zombie movies in general.

Brown and Carney, a poor man's Abbott and Costello, do a fairly decent job in the comedy department in this film, though Carney's aping of Lou Costello becomes annoying after a time. Toward the end, a monkey is able to steal the show indicating the level of talent in the cast. Sheldon Leonard does well in his usual role as a mobster who talks tough but tends to be a pussycat. Bela Lugosi and the lovely Anne Jeffreys add a degree of dignity to the goings on. Too bad they were so often wasted in programmers since they were both such gifted performers.

The title is misleading since the movie is actually about press agents Brown and Carney trying to pan off a fake zombie named Sam to a nightclub mobster for his gala opening of the Zombie Club. Brown and Carney are caught and made to travel to St. Sebastian and bring back a real zombie. The movie is fast paced and there are a few belly laughs along the way. Don't expect anything on the level of "Abbott and Costello Meet Frankenstein" and you won't be disappointed.

Brown and Carney were not too bad. They were better than some of the comments make them out to be. They couldn't touch Abbott and Costello, but I have seen far worse from more famous duos. I would have liked to have seen them with better writers. Just a note that Brown and Carney were reunited briefly in the 1961 film "the Absent Minded Professor". This is an OK comedy for those who like old fashioned comedy like I do. The thing that disappoints is that the title itself gives rise to images of zombies invading a Busby Berkley type musical or an army of zombies pursuing fleeing New Yorkers through the theater district. I was imagining the scene from Golddiggers of 1933 with Ginger Rogers singing "We're in the money" being invaded not by the cops but by zombies. Sadly, we get none of that. If you can get past the title then you will find an amusing little film. I would like to see George Romero remake it.

With a cast including ALAN CARNEY, WALLY BROWN, ANNE JEFFREYS, SHELDON LEONARD and BELA LUGOSI, RKO made an amusing programmer (lower half of double bills) using the zombie theme for laughs.

Sheldon Leonard is an ex-gangster putting up money for a nightclub called The Zombie Hut and promising to present an authentic zombie on opening night. Brown and Carney promise Leonard that they'll come up with a real zombie in time for the Broadway opening of the club.

The story moves from the nightclub to the island of San Sebastian where a weird scientist called Dr. Renault has mysteriously disappeared. On the island, the tone of the film veers between comedy and fright with amusing results--and the team of Carney and Brown seems to be using the kind of material Abbott and Costello found at Universal. The gags are sometimes a misfire but the slapstick situations are fun. Attractive ANNE JEFFREYS is a night-club singer who also gets involved with the zombies when she and the boys go looking for them.

All of the sight gags are reminiscent of A&C at their zaniest. Lugosi plays it straight as the doctor who believes in putting people under "suspended animation" for scientific purposes.

The zombie they return with is a surprise twist. It's all played strictly for laughs and, silly as it is, it works.

1945's "Zombies on Broadway" marked the first of three titles under Bela Lugosi's new RKO contract, his first teaming opposite the studio's answer to Abbott and Costello, tall and thin Wally Brown with short and pudgy Alan Carney. Like the later "Bela Lugosi Meets a Brooklyn Gorilla," he reigns in a studio jungle conducting sinister experiments, here a zombie master unlike Murder Legendre from "White Zombie," attempting scientific means to produce zombies using a special serum of his own making. Brown and Carney play their regular characters of Jerry Miles and Mike Strager, working as publicity agents for a new club owned by gangster Ace Miller (Sheldon Leonard), but in promising a genuine zombie for The Zombie Hut they are forced to journey to the Caribbean island of San Sebastian to seek out Lugosi's Dr. Paul Renault, on the advice of museum curator Hopkins (Ian Wolfe). Renault would rather the world believe him dead, delighted to test his new serum on Mike, kidnapped from his bed by actual zombie Kolaga (Darby Jones). Jones and unbilled calypso singer Sir Lancelot repeat their roles from Val Lewton's "I Walked with a Zombie," five zombie masks called for by makeup artist Maurice Seiderman, little more than bulging pop eyes for an effect both comic and creepy, Lugosi confined almost entirely to the film's second half with only 10 minutes screen time. He actually gets a chuckle when assistant Joseph (Joseph Vitale) tells Miles and Strager that Dr. Renault is merely studying a banana blight, but the doctor insists it is coconuts: "oh, Joseph is color blind!" The antics of Brown and Carney offer some amusement but the material for surefire laughs just isn't there, later reunited with Bela for a much better comedy, "Genius at Work," offering a larger part for Lugosi and a last pairing with master screen villain Lionel Atwill (only a few weeks after completing this mad scientist fiasco, he would be cast as Joseph in Val Lewton's Boris Karloff vehicle "The Body Snatcher").