Supernatural

Having independently made one of the most unusual horror films up to that time in WHITE ZOMBIE (1932), the Halperin Brothers were given the opportunity to duplicate its success – on a bigger budget, relatively speaking – by a major studio, Paramount. Alas, the result wasn't as good and, in fact, SUPERNATURAL emerged as a lesser addition to the studio's brief output in the genre during its Pre-Code heyday! Despite a nice opening montage sequence depicting the exploits of the murderess (Vivienne Osborne), it takes a while to get going: Carole Lombard only appears 15 minutes into the movie, and the possession plot only really comes into play during the last 15 (interestingly, the 'transference of souls at the moment of death' gimmick was also featured in EXORCIST III [1990] – though it's unlikely this element was derived from the film in question). That said, I enjoyed SUPERNATURAL a good deal and there are some undeniably stylish sequences throughout.

Still, one might say that luscious Lombard's virtually the whole show here, though she isn't totally comfortable in her role. Randolph Scott and H.B. Warner lend solid if unexceptional support – but the villainous character of the spiritualist (Allan Dinehart) isn't particularly well-developed, while Beryl Mercer offers the obligatory comic relief as the latter's tipsy landlady (who isn't above spying on and eventually blackmail her boarders!).

For all that, the latter stages of the film – involving the séance (highlighted by the 'apparitions' of Lombard's dead twin brother and various other tricks perpetrated by Dinehart to milk his gullible clients) and Lombard's possession (particularly the nice close-ups of her lit eyes) – are reasonably effective. All in all, while I wasn't excessively let down by it, I can only see SUPERNATURAL (I wouldn't mind having it on an official DVD from Universal, either, perhaps as part of a horror collection?) improving with further viewings, and I would certainly like to catch up with the Halperin Brothers' subsequent horror outings – REVOLT OF THE ZOMBIES (1936) and TORTURE SHIP (1939) – even if their reputation is nowhere near as assured as this one's is, let alone WHITE ZOMBIE

I've seen this film 3 times over the past 16 years and I have to say that it still has its moments. Real pros were in charge of seeing to it that the movie evokes the right mood. No, it's not made in the same vein as "The Blair Witch Project" or any of a number of modern scarefests. Older movies often have a distinct style which is different than that used by directors, cinematographers and set designers today. This should not detract from the appreciation of old scary movies. Black and white cinematography can only enhance them. See the scene with the dead murderess in the scientist's laboratory for an example of what I mean. Brr.

Unlike a lot of reviewers here, I was quite impressed by this film. Sure it's not scary - I didn't expect it to be - but it effectively builds an unsettling atmosphere without resorting to the usual mood enhancers such as haunted houses, gloomy mansions, isolated islands, etc. Prosaic things such as a spark generated from a railway wheel, the taking of a key, have an edge to them. There are also some very nice touches along the way, eg, the dog bringing the slippers to Carole Lombard's brother.

It is also interesting to see Carole Lombard this early in her career - from my point of view she acquits herself quite well in the part. And H. B Warner is also well suited to his role of Dr Houston. Randolph Scott however is wooden, and the role of Bavian could have done with a more charismatic player than Alan Dinehart. The real scene stealer in this movie however is Beryl Mercer - much better in this than anything else I have seen her in.

I also find this film interesting plot-wise, as I have on occasion come across texts which refer to "The Uninvited" as the first significant Hollywood film to deal with spirit possession when clearly this is not the case. I suppose it depends on what you mean by significant.

Anyway, it is certainly interesting to see what the makers of "White Zombie" came up with when they had the backing of a major studio.

Supernatural is a slow moving pic about séance versus science as Carole Lombard is exposed to the dark side via a shady mystic and an overzealous doctor. A dull plot and even duller characters. As a Lombard fan, I like to see how she fared early in her career. Her acting in this film is just so-so and it brings to light how much she improved in the last nine years of her life. The big plus is Randolph Scott, not for his acting but for his physique. He's definitely easy on the eyes in a movie that otherwise put me to sleep.

I totally forgot that I had this movie in my library. And I also am very happy to have found it, because for the thirties, that's a pretty good surprise from the director of WHITE ZOMBIE and REVOLT OF THE ZOMBIES. I think it was daring for this period to invent such a plot, and the result is not so bad. The short length is also a good point. Now, I admit that this movie is talkative, as many of others made during this era, early talkies. Maybe a decade later, it would have been a bit better.... Anyway, I like this Victor Halperin's film, one of his most interesting, though not his best. But to see Randolph Scott and Carole Lombard, we can make an effort.