Tanz der toten Seelen

Not many people know of this film, surprisingly--this is one of the most intelligently constructed and atmospheric horror (for lack of a better term) movies of all time. Whenever I do run across someone else who has seen this film, there is an instantaneous, unspoken understanding in regards to the enduring creepiness of this film.

My first viewing of COS occurred when I had inexplicably awoke in the middle of the night as a boy and switched on the TV. I had missed the opening minutes, but was powerfully drawn into the story. I sat transfixed until the shock ending, and think I just stared until after the sign off and following screen static. The next day I was not entirely sure I had actually watched this film or dreamed it--nobody else had ever heard of it and I never did catch the title (for some reason, its never shown much). Needless to say I was creeped out for days! Films that can affect one's sensibilities like this are golden! Find it and watch it in the middle of the night--alone.

After viewing this legendary flick for the first time, I have to say that the quality they achieved on a shoestring is still impressive today. Every penny spent on this little film makes its way before the viewer, which is something that can't be said of most major budget films then or now. Corman used "getting the money up on the screen" as his yardstick for his own success as low budget producer and director. But while I like the Corman cheapies, like Bucket of Blood and Little Shop of Horrors, and acknowledge that they possess a relatively high level of workman-like resourcefulness, it's hard to deny that Carnival makes many of Corman's films look slapped-out and unimaginative in comparison. Corman usually steered clear of anything poetic, dabbling with it most pointedly in the dream sequences in his first Poe adaptations. In contrast, this films makers are quoted to the effect that they were inspired by Bergman and Cocteau. Now, with such heroic ambition, Carnival could have turned out a laughable mess. But the films dark waking dream atmosphere is well realized. They had some really great locations– the pavilion, the wooden bridge, the organ factory and the church with the "casting out demons" stained glass. The actress playing the heroine is lucky (or skillful) casting, too; she doesn't look or act quite like the average person, which is perfect for the story. If I picked one thing to complain about, it would be the interlude with the guy from across the hall in the rooming house, about the writing of that section and especially about the actor who played him. But I won't. There's just too much good to be said about this small masterpiece of independent film making.

Ten stars. See it.

Herk Harvey and Candace Hilligoss are not household names to most persons and for good reason. Their body of work outside of this film is tragically low. I say tragically because Harvey as the film's producer/director and Hilligoss as the female lead were the main reason Carnival of Souls is remembered today as it is. Carnival of Souls is a great little gem and, I would say, a masterpiece of it's genre. Shot on a very low budget in 1962, much of it was filmed in Lawrence, Kansas, where the University of Kansas is located and where one of it's leading players (Speech instructor Sidney Berger as Ms. Hilligoss' `love interest') was on the teaching staff. Harvey also appeared as the mysterious apparition throughout the story. The story concerns a young woman, Hilligoss as Mary Henry, who has evidently survived an automobile plunging off of a bridge and into deep water. After being rescued, Mary begins to see the apparition, impressively played by Harvey in a low key, understated manner, and notices that there are times when she cannot be seen or heard by those around her. Harvey is truly outstanding, made up to look as a zombie with hollow, piercing eyes. Hilligoss as Mary is equally impressive as the strong-willed yet strangely vulnerable Mary. Hilligoss was an attractive, if not beautiful woman, and perfect for the role as Mary. Carnival of Souls is one of those films that worked, and worked well, almost in spite of itself. On the surface it would not appear that it had much going for it. Mary's adventures take her to a boarding house where she receives the mostly unwanted attentions of her lecherous neighbor, John, capably played by Berger. She accepts a job as a church organist, giving Harvey the perfect in to include some very eerie music within the story, and is mysteriously drawn to an old amusement park, where she experiences the dances of the dead, the film's most impressive scenes. Eventually she is drawn outside the abandoned ballroom to the beach and claimed as one of their own by the party of zombies, confirming what we have suspected all along. Mood, atmosphere and creative camera work set this film apart, a film which was ahead of its time as was 1968's Night of the Living Dead. Carnival of Souls is greater than the sum of its parts, as all things excellent must always be. It is a pity we did not see more of Herk Harvey or Candace Hilligoss. Horror buffs will always wonder, what if? .. Still, I believe it preferable to do a single masterpiece rather than a large body of the forgettable. Perhaps they were wise and understood that this was the one great work allotted them. I hope this is the case but we will never know.

I have just seen this movie for the second time and love it twice as much. The great thing about it is that it's quiet and dreamlike and there's absolutely no blood or gore or real violence. And it's in black and white-you can't beat that! I assume you all know the story very well, a story I find to be most intriguing and not at all as predictable and plain as everyone makes it out to be. Mary Henry and her friends sail off a bridge, although Mary is mysteriously unscathed. After that, while dealing with her job as a church organist and various other characters, she is pursued by a devilishly delicious zombie and goes through periods of complete estrangement from the world. And then of course there's her neighbor Mr. Linden. He's so greasy and sex-crazed that I couldn't help but love him, and he makes an excellent contrast against Candace Hilligoss's solitary, quiet character. Their scenes together are eerie just on their own(Linden spying on a changing Mary and the attempted-necking scene infront of the mirror) Mary is also drawn toward an old pavillion where her eventual end takes place, and that too is eerie. Her periods of silence are probably the creepiest of the movie, almost claustrophobic and especially dreadful. I mean-who wants to be in broad daylight and feel like they're the last person on earth while practically going deaf? All in all, let's just put it this way. I'm an old movie guru, so this is obviously going to pertain to me more than The Sixth Sense and all those other gore fests, and even so, you can't help but love this movie. I'll be treasuring it for a long time.

Carnival of souls (1962) is that rare thing in life. An intelligent and genuinely unsettling horror film. Where most horror films go for the obvious effects of gore and leave nothing to the imagination, this film takes a far more subtle approach. The film deals with the story of a withdrawn church organist Mary (Candice Hilligloss) who is involved in a car crash from which she is the only survivor. She then finds herself being pursued by a strange ghoulish looking man and has episodes where it appears no one around her can see or hear her. This leads to a startling revelation for Mary at the old abandoned Carnival in the desert.

What makes this film so good is its eerie atmosphere and the strong visual influence of German expressionist cinema, mixed with some pretty good photography (for such a low budget) and good performances from a mainly non-professional cast, results in a fine example of how to unnerve an audience without big budgets and special effects.

The film can also be seen as being a major influential on other such films as David Lynch's Eraserhead (1976) and George Romero's Night of the living dead (1968).