Black Moon

Until only a few months ago, I had never even heard of this one – despite the involvement of director Roy William Neill (THE BLACK ROOM [1935]) and the era's foremost "Scream Queen" Fay Wray! Interestingly, it supplies the logical bridge between the distinctive Gothic and psychological backdrops of the two most notable early voodoo-related films – namely WHITE ZOMBIE (1932) and I WALKED WITH A ZOMBIE (1943). The atmosphere here is similarly thick, without the need to resort to an actual prowling or possessed creature: indeed, having the lady concerned – very well played by Dorothy Burgess – actively believe in the power of voodoo (that is, until she sees the error of her ways on being asked to perform the ultimate sacrifice!), provides the biggest chill in this case! Incidentally, the two central female characters (with Wray being, naturally, the wide-eyed heroine) not only create the requisite contrast but make up for the rather uninteresting male lead – burly Jack Holt! Perhaps not a classic of the genre, then, but a perfect example of "a film that has fallen through the cracks"; in fact, the copy I acquired is a hazy VHS-sourced recording of an old TCM screening.

This film proves that a decent retrospective of the films of Roy William Neill is long overdue. A forgotten horror movie of real merit, BLACK MOON is obscure enough not to be listed in Halliwell's Film Guide but of sufficient interest to have played in New York's Film Forum a couple of years back (where I first saw it on a double billed with ZOMBIES OF MORA TAU!) The plot is right out of "Conjure Wife" with a slight foreshadowing of I WALKED WITH A ZOMBIE. A New York socialite (Dorothy Burgess) is haunted by her childhood memories of being brought up by a voodoo priestess in Haiti. Her hope is to free herself from the past by confronting it outright but her plan proves disastrous. Returning to the island, she is promptly elevated to the status of a white goddess among the natives and is soon participating in human sacrifices, eventually plotting against her husband and infant daughter.

I have to admit my enthusiasm for this movie isn't shared by others in my immediate movie circle. The major flaw is that Burgess' transformation into a jungle high priestess is simply glossed over in the script. Indeed, she's off-screen for the better part of the movie. Instead the film focuses on the budding romance of Jack Holt as the harried husband and his secretary (that she's played by Fay Wray is at least a consolation). Still the film works up to an ominous mood, creating a palpable hothouse atmosphere as voodoo drums beat steadily on the soundtrack.

The film played on Turner Classic Movie many years back and is, presumably, in limited circulation. It's dated racial attitudes undoubtedly won't help it get the wider distribution it deserves. It's safe to say that a DVD release is unlikely but the film is worth tracking down.

I'm not sure, but Black Moon may be the first horror film to be set in the West Indies and focus on voodoo. Of course, it would be the Val Lewton/Jacques Tourneur film I Walked With a Zombie that would go on to become the best known early example; but Black Moon is still a worthy effort. The plot focuses on a woman born in the West Indies. She left at the age of two when her parents were sacrificed in a voodoo ritual, but apparently she is under some curse and decides to return to the island. She takes along her husband, nanny, daughter and his secretary and upon returning to the island, is elevated to the level of a God by the locals; which leads to danger for her family. The film was obviously made on a low budget as it all looks very cheap throughout. This improves once the film reaches the West Indies as the location shoots take some of the focus off the cheap looking sets seen earlier on in the film. The film is very slow burning and takes a while to get going, but once it does it's constantly interesting. Director Roy William Neill (who would of course go on to become best known for his Sherlock Holmes films) does well at implementing the atmosphere needed to ensure that the film is successful. It has to be said that there isn't a great deal of tension in the early parts of the film; but this is made up for by the ending which is strong. Overall, I wouldn't quite say that this film is a classic; but it will certainly be of interest for fans of thirties horror.

This is a tense and exciting little film. I was surprised how quickly and effectively the movie manages to ratchet up the tension without wasting time on endless setup, giving us just enough to know the characters and get involved with the situation. There is a very effective and ominous tone struck with the opening frames and nicely developed as the cast heads to an island that is cut off from help. Good performances and cinematography help greatly; for once we have a juvenile who is not annoying and smart leads in Fay Wray and Jack Holt. Dorothy Burgess does a good job with a complicated part. This plays like a forerunner to Val Lewton's classic I Walked with a Zombie, though there are no zombies present here. Worth catching the beautiful print on TCM.

"I Walked with a Zombie" may not have been the first Voodoo film adapted from Charlotte Bronte's "Jane Eyre," which is not surprising when you consider the West Indies was where Edward Rochester courted his mad wife. Perhaps it's a stretch, but "Black Moon" seems to contain several plot elements from Bronte's novel as Stephen Lane—whose West Indian born wife is drifting into madness—forms a close personal bond with his secretary.

When the wife (Dorothy Burgess), under the influence of a Voodoo curse, returns to her childhood home in the West Indies, Lane's secretary (Fay Wray) accompanies her. Lane (Jack Holt) soon follows. Here the secretary becomes a substitute mother for Stephen's child, recalling a similar relationship between Jane Eyre and Edward Rochester's ward Adele. Also, Stephen, like Edward Rochester, can finally have the woman he truly loves only when his wife dies as a result of her madness, in this case leading a native uprising.

Judging from other comments about this being a good example of pre-code horror, my expectations were high. But the director and writers never adequately explored the terror of situations. There are no build-ups of suspense. Things just happen. People are found dead after the fact. Killings and Voodoo sacrifices that happen on-screen are clumsily directed. Nevertheless, performances are uniformly good, the script is literate, and there are a few moments of cinematic art. The print I saw on Turner Classic Movies is very clean; and I was impressed by Joe August's cinematography in the scene in the tower as it filled with smoke from the burning tunnel. The interplay of light and smoke created an eerie atmosphere that I wish had been made more of.