The Undead

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...

I fondly remember Corman's excuse to put a bevy of blonde babes on screen and pretend they were female vikings in Viking Women and the Sea Serpent. Heck, I even enjoyed "I'm a PRINCE!!!", but at times, the stagnation has you thinking, "Oh, yeah, I was watching a movie!" as your trail of thought wanders off. I even recall the yawning plague from the horror he penned in the Gunslinger which was only saved by fiery red maned Beverly Garland.

The Undead (although not pertaining to zombies or ghouls, but the unholy one) has a certain je ne sais quoi...a campy, strange feel. Sure, it was shot on some studio set and it looks like the entire village consists of less than 10 people. However, the effort put into this actually makes it a trip to watch. I don't know what the whole prostitute angle is or the question of whether or not a streetwalker is valued higher than a damsel accused of heresy, but it is a first! The eccentric, yet most recalled character, Smolkin, steals any scene he's in so much so that the "Hey diddle, diddle, the cat in the fiddle..." tune was stuck in my mind that even the homeless guys asking for change gave me odd glances when I was singing that walking near Fulton St. Witch Livia, played by bombshell Allison Hayes (she can hex me anytime!), plays the sultry, seducing spellcaster to a point! No wonder Pendragon couldn't resist (poor dope). Cast a plus for Meg, the gnarled crone who really makes you wonder if she collects toadstools and brimstone in her spare time. Nice chin too! Add in creature transformations, the impishly diabolical Billy Barty laughing from the underworld and this is one strange mamma jamma. Also, they actually took time to write scenes in ye olde English which just throws you for seven loops. This also may require several viewings to figure out what exactly is going on. Oh, last but not least, don't forget cameo by Bruno VeSota who "heads" our cast to his quaint inn.

What's really over the top? Our fey prince of darkness laughs with such levity that cannot be Shatnerized. You have your typical scrupulous doctor who can't even pronounce correctly. It's NEPAL, not nip-pal! I really liked the bureaucractic feel of the Witch's Sabbath too. So be sure to "STAY" and see one of Corman's more entertaining yarns. Also, watch this one MSTified and you'll appreciate it even more. Although I may be mad, but I cannot say....

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.

Very entertaining concoction: in spite of its shaky sets, dresses with zippers and carriages definitely not from the 6th century (if the script is alluding to King Mark of Cornwall), verbose dialogs and a few corny performances, this Roger Corman production has the tone and feeling of a fairy tale, as performed by kids from elementary school with naiveté and spontaneity. The time-travelling premise in the script by Charles Griffith and Mark Hanna is clever and it could have benefited from a bigger budget for revisions, re-writes and higher production values. As it is, I find it funny, charming and even daring, as it somehow aspires to have values similar to literary works written in old times, about death, transcendence and the role of science in the evolution of mankind. It is also another proof of Corman's ability to turn almost anything into a pleasant time for the viewers. Recommended.

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.