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White zombie is recorded as being the first Zombie movie ever mad. They Zombie actors did an amazing job of it, especially when considering they had no bases to work from. It was all about portraying creepy and terrifying through a stiff body poster and facial features. And they pooled it off. It was the "eyes" of Lugosi, the king of Zombies who put the fear in me. Amazing skills as an actor to convey so much with just the eyes. The movie is at one scary, mysterious, weird, and funny. The key feature of White zombie is that it was made to scar the people of its time, not ours. And this is probably why most people won't give it the time of day. It is an old movie with old style acting and scare tactics. The viewer has to know that be for watching it.

Zombie movies from the '30's and '40's are quite different from the zombie movies most people know from the '70's till present time. In the '30's and '40's, zombies and voodoo kind of rituals always walked hand in hand. As a result of this zombie movies from the '30's and '40's have a certain creepy atmosphere and scary voodoo sound effects.

"White Zombie" is the very first (still excising) zombie movie ever made. The zombies look extremely good and creepy thanks to the charismatic actors that perform them. Don't underestimate this people, acting with just your body and mostly face is also a form of tough acting. I think that it is thanks to the fine casting of the zombies that most of the scene's with them in it, work really well.

Bela Lugosi is totally fantastic as sort of witch doctor and 'king of the zombies'. He plays one scary monsieur. I even tend to say that this is his best villain role he has ever portrayed, yes even better as Count Dracula. Lugosi was always at his best in roles like these and just like in "Dracula" he is once more acting very well with also both his hands and face, especially his typical horror-like-eyes make him one legendary villain. For the Lugosi fans this is an absolute must see!

The story is very intriguing and sad and its told in a beautiful way. Especially the ending was fantastic and actually also quite tense.

Unfortunately time has not been kind on this movie. The movie had been lost for many years until the '60's after acquiring the rights to distribute the movie, the quality was already beyond restoration, so now days we can never watch this movie in its full glory. The movie has the grainy and visual look of movies from the 1920's and at times small chunks of sound and music are missing.

The cinematography is absolutely fantastic and the experimental editing provides some unique and extremely well looking sequences. It reminded me of some of Brian De Palma's early work. There is one unique and brilliant scene that I can't even describe. It features a split screen but the scene is constructed more complex than I make it sound. Really something you have to see for yourself.

OK maybe the beginning of the movie isn't that good and memorable and quite standard and typical for the horror genre in the '30's but the last half hour or so is really unique, excellent, tense and just a shear delight to watch, mainly thanks to Bela Lugosi's his character 'Murder' Legendre (what a brilliant name by the way) and the story in which once more love conquers all.

By the way this is the movie Ed Wood and Bela Lugosi were watching together in the movie "Ed Wood". Most people think that it was a Dracula movie with Lugosi but it in fact is this movie they're watching.

A really unique little forgotten horror masterpiece, that's worth seeing already alone for its movie historical value and Lugosi's fantastic, passioned villain role.

8/10

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There's something about 1930s horror movies that makes them really special and haunting. It's probably got a lot to do with the talkies being new and directors being free to experiment with tricks learned from German expressionism. Whatever the explanation the best movies from the early 30s (James Whale's 'Frankenstein', 'Bride Of Frankenstein' and 'The Invisible Man', Todd Browning's 'Dracula' and 'Freaks') have a dreamlike quality that sticks in your brain and just won't leave. Bela Lugosi is one of the icons of horror movies. He made 'White Zombie' not long after 'Dracula', his definitive role, and gives another great performance. 'Island Of Lost Souls' is a better movie than 'White Zombie' but Lugosi on has a small role in that so I'd say this is his best movie after 'Dracula'. It's easy to forget just how quickly his career died. His two mid-30s teamings with Boris Karloff ('The Black Cat' and 'The Raven') were basically the beginning of the end for him as a major star, and by the time he played Ygor in the underrated 'Son Of Frankenstein' at the end of the decade he was almost a has been. Oh well Lugosi is just terrific in this movie as the sinister 'Murder' Legrende, Haitian mill owner and zombie master. Robert Fraser plays Charles Beaumont, a local plantation owner who becomes obsessed with a young woman (Madge Bellamy) about to be married. He invites her and her fiance (John Harron) to his estate to have their wedding all the while planning some way to win her. An hour before the wedding he becomes desperate and reluctantly approaches his sinister neighbour Legrende. Legrende's solution has dire consequences for all involved. The movie was obviously made a shoe string budget but there are plenty of striking visual images, especially those involving Bellamy after Lugosi gets to her. The zombies are very creepy and are the precursors to zombie classics later made by Tourneur, Romero, Fulci and Raimi. For this and for Lugosi 'White Zombie' is a must see for any horror buff!

This review will be more about the print and theatrical experience than about the plot. Most people won't find this "useful", but hey, so what. Here's my two cents.

If you have the opportunity to see the Roan Group print projected in a theater, don't hesitate. Go see it.

I just saw this in the big screen last weekend and it is MUCH better in a proper theater with a crowd of enthusiasts than in the confines of your home, even with a big TV and 5.1. The audience I was in was comprised of about 150 kids and their parents. The kids had a great time as did I, who has seen the movie several times over the years in the washed out public domain video prints that have circulated forever.

The Roan Group print (same as the remastered DVD) is the one we saw, projected in 35 mm. It was obvious that there were two sources for this print. The vast majority of this appears to come from a very nice print with high contrast and sharp definition. The "fill-in" portions, apparently missing from the other source, are much more typical of a 75-year-old cheapie independent production shot in 11 days, i.e., scratchy, multiple generations removed from the negative, and faded. Thankfully there's not too much from that second source. There are a few jumps in the film (a few seconds at most) that could not be restored. Too bad, but no biggie.

The sound was problematic, veering from a comfortable volume when dialogue was speaking, to way too loud, almost to the point of distortion, when the music played or the bird squawked. I really don't think it was the theater's fault as their sound is always "just right".

Interestingly, for a movie this old (pre King Kong and Bride of Frankenstein) there was a whole lot of music and not as much dialogue as one usually gets in a film from this era. The music was rarely background to dialogue and was used almost exclusively to enhance the mood of the film. It was probably cheaper to do it this way, but who cares why. It works.

This is a really neat film full of great shots and creepy characters. Bela is fantastic, maybe his best performance on film. White Zombie hardly ranks up there with the Universal classics of the era, but it is positively time for a historical and critical reappraisal of this newly restored film.

It's good on video, but on the big screen, WOW!

Sometimes silly, sometimes stilted, nearly always stagey, White Zombie remains nonetheless one of the most visually fascinating films in horror history. Who can forget the image of Madge Bellamy's alabaster gown flowing down the concrete staircase, or the zombie burial procession outlined spectrally against the sky, or the sinister shadows cast demonically across a dance floor. Then there's the magnificently Gothic hall with its grotesquely twisted bannister like none other I've seen. In fact, almost every scene presents at least one arresting visual feature. As good as these and the many other touches are, it's still the mill scene that remains a masterpiece of visual staging. It must be seen to be appreciated-- the pitiless grind of the crusher, the soundless shuffle circling into the maw-- all in all, one of the deeper levels of Dante's inferno and one that's bound to stay with you.

If the visuals are inspired, the acting is not. It's almost as if two different people are in charge. Bellamy is quite good with her large liquid eyes and bee-stung lips. Her transformation into a zombie stupor is well performed. Of course, there's also Lugosi as Lugosi, florid, hammy, but effective nonetheless. The other principals, however, bring down the proceedings with what can only be described as bad acting. Bellamy's swain in particular is plain annoying, while the preacher appears to have wandered in from a breezy Bing Crosby production. Too bad. With more appropriate performances this could have been an all-time classic.

As things stand, it's a truly memorable film, whose influence can be seen in such diverse venues as Val Lewton's horror cycle, Bergman's The Seventh Seal, and Romero's Night of the Living Dead. Except for the mill scene with its eerily grinding tonality, the movie might be best enjoyed by turning off the sound altogether. (P. S. Colorizing this b&w marvel is nothing less than a crime.)