User reviews

Dispersed throughout the Universal reign of horror in the thirties came several remarkably well-made MGM and Warner Brother horror films. The Walking Dead is one such film produced by Warner Bros. that mixes their predominant genre of expertise, the gangster film, with the horror film. You might say in a way that it is a blend of reality and the supernatural. This film has stood the test of time well, and is a nice, taut story of a man wrongly accused of a crime, miraculously brought back to life, and eventually seeking vindication and justice from those that did him wrong. Karloff is a masterful lead in that he is able to frighten us and exact from us a tremendous amount of pity and understanding. In point of fact, his characterization of Ellman is one of his most powerful and sympathetic, a true tragic hero toyed with by crime bosses and a corrupt lawyer. Most of the acting beyond Karloff is rather pedestrian, with Edmund Gwenn turning in a nice portrayal of a questioning scientist and Ricardo Cortez wonderfully playing the stereotypical slimy lawyer. Curtiz does a good job of direction and lighting and shading are used to almost perfect results. A must see for the classic horror buff!

This is a one of a kind--combination horror/gangster! Karloff (who's just incredible) is bought back from the dead after being wrongfully executed and takes revenge on those who set him up. It's basically a gangster film until the last half hour--then the scary stuff kicks in. The film is VERY short (70 minutes) and moves quickly. It's intelligent (although bringing a person back from the dead after they've been electrocuted is a stretch!), very well-directed (effective use of shadows and camera angles) but the main reason to watch is Karloff. He never received the attention he deserved because he made horror films, which are still looked down upon. He was a wonderful actor and in this movie gives one of his best performances ("The Black Room" is probably THE best he ever gave). Just check out his expression after he "kills" the men he goes after. Excellent job. A perfect "B" movie. Don't miss it! I don't believe this is on video (I saw it on TCM), so if you get a chance, SEE IT! You won't be disappointed!

Eerie, creepy, beautifully shot oddity, the kind of stuff they just wouldn't know how to make any more (not that they would want to). Karloff gives a fine performance as the gaunt, haunted patsy in a murder rap. Stand-out scene is definitely the fantastic build up to Karloff's undeserved execution, as sad cello music plays and prison guards banter about baseball while a man's life hangs in the balance. The ideas dry up a bit as King Karloff haunts his killers, but his sinister solemnity captivates the interest, and it's all crammed into little more than an hour.

THE WALKING DEAD (Warner Brothers, 1936), directed by Michael Curtiz, is an interesting little item from the "horror" genre of the 1930s. Naturally starring Boris Karloff, but surprisingly produced and released by Warner Brothers instead of by Universal, where films of this sort were filmed and Karloff under studio contract. Being a Warners film, this also has the trademarks of its very own popular genre, the "gangster" story, yet, in this case, the use of modern-day setting with the blend gangsters with tales of the supernatural and science fiction.

The story opens with Judge Roger Shaw (Joseph King), in spite of threats from the mob, convicting a racketeer named Steven Martin (Kenneth Harlan) to a ten year prison sentence. Nolan (Ricardo Cortez), Martin's lawyer, sets out to do away with the judge by arranging one of his fellow racketeers, "Trigger" Smith (Joseph Sawyer), to employ John Ellman (Boris Karloff), an out-of-work musician out on parole for two weeks following his ten year prison sentence, to "spy" on Shaw, the judge who also had sent him up, on the grounds that Shaw's wife suspects her husband of being unfaithful, and all Ellman has to do is watch his house and take notes. One night while spying on Shaw by his property, the judge is murdered elsewhere by the gangsters who take the body and leave it in the back seat of Ellman's car. At the same time, this is witnessed by a young couple, Jimmy and Nancy (Warren Hull and Marguerite Churchill), who remain silent after they are personally threatened. After Ellman notices the couple driving away, he discovers the body in his car. The next scene shifts to the courtroom where Ellman pleads his innocence and that there are witnesses who can verify his story, but with the "help" of his attorney Nolan, he gets him convicted of first degree murder and to face execution. On the night he is to go to the electric chair, Jimmy and Nancy come forth to Doctor Beaumont (Edmund Gwenn), their employer and scientist, who immediately telephones Nolan to contact the governor to stop the execution. Nolan purposely awaits until it is too late, and by then, the death sentence is carried out. Beaumont orders the autopsy to be stopped so that he may revive the body. After Ellman is brought back from the dead, he appears in a "zombie" state of mind, remembering nothing, but knowing precisely whom his enemies are, and through a supernatural force, goes after each one of those gangsters to learn why they had him framed, only to witness their destinies through accidental occurrences.

Featured in the supporting cast are Warner Brothers stock company of Barton MacLane as Loder; Henry O'Neill as District Attorney Werner; Addison Richards as the Prison Warden; Eddie Acuff as Mitchell; with Paul Harvey as Blackstone and Robert Strange as Merritt.

Boris Karloff is no stranger in playing a corpse resurrected from the dead. His role as The Monster in FRANKENSTEIN (Universal, 1931) or THE MUMMY (Universal, 1932), immediately come to mind, yet, in this production, he somehow resembles the monster, but in this case, doesn't go out on a murderous rampage in spite that he actually does have just cause to avenge his evil doers. Karloff's John Ellman is actually a gentle soul who, after being executed for a crime for which he is innocent, retains his gentleness even through his second life, yet, succeeds in bringing fright through his eyes to those who had done him wrong. He even finds peace and tranquility while roaming about the cemetery. Being a musician and pianist himself, he has a favorite musical piece, a somewhat quiet but moody composition he asks to be played as he walks his last mile to the execution chamber. As for the music, Ellman adds, "I like to think Heaven like that." After his "resurrection" by Doctor Beaumont, the story occasionally shifts to mystic overtones as Beaumont tries to learn from Ellman his experience in death. At one point, Ellman responds, "Leave the dead to their Maker. The Lord our God is a jealous God."

In many ways, THE WALKING DEAD is highly original in its premise and during its short 66 minutes, starts off a bit slowly with some intrusive "comedy relief" provided by Eddie Acuff, whose sure thing in making wagers which turns out to be a bad gamble, but soon builds itself to a fast and memorable conclusion. During its second half, the movie plays like a "film noir" mystery with its dark atmospheric background along with some very creepy stalking from the titled character. THE WALKING DEAD may not be Academy Award winning material, but will guarantee to win a new and appreciative audience whenever shown on Turner Classic Movies. (**)

Excellent little horror film directed by the amazingly talented Michael Curtiz, the same man who would later give up Casablanca amongst many other classic films.

The story is a genre mashup of gangster and horror and at only about 1 hour 5 minutes, there isn't much time to lag. With such a skilled eye behind the camera, we are treated to a film that does not bore.

Boris Karloff is the star and he does such a great job of bringing fright to the picture. For someone interested in the acting of Karloff or the films of Curtiz, this is a must see!

7.0 / 10

--A Kat Pirate Screener

It's a dead man walking in this film with Boris Karloff brought back to life by a doctor (Edmund Gwenn - Miracle on 34th Street).

There was no surprises as I would have expected, as the reanimation was posted all over the newspapers the next day.

It's not just a horror film, but a gangster film, as Ellman (Karloff) was executed for a crime he didn't commit.

It was really funny when he went after those involved in the conspiracy to frame him. A little supernatural work on a lot of guilty consciences.

It was a fascinating film, and Gwenn was superb. Karloff was also very good.

One of the best horror films of the 30s. The only criticism lies in some of the acting by the secondary characters. Otherwise, superb direction, magnificent Hal Mohr photography, good script and story, and excellent music score by Bernhard Kaun (which was NOT listed in the credits by the way). Even if you are not a horror fan, it rates high as a rainy day diversion.

Michael Curtiz directed this odd combination of gangster and horror films for Warner Bros. Karloff is a minor gangster released from prison who is framed and executed for murder. He's brought back to life when his name is cleared and confronts each of the men who framed him with his knowledge from beyond the grave. The execution scene is absolutely excruciating, as the only witnesses to the crime try to get the corrupt governor to call in a pardon while the music-loving Karloff walks to the electric chair, accompanied by a cello.

Michael Curtiz directed this beautifully filmed story of poor luckless John Elman(played superbly by Boris Karloff) who was framed by racketeers for the murder of a judge. Elman is then tried and found guilty of murder. Though evidence proving his innocence is found, it arrives too late to save his life. Still, a Dr. Beaumont(played by Edmund Gwenn) has developed a way to bring back the recently dead, and resurrects Elman, who resumes his pianist skills to conduct eerie concerts, though also is compelled to confront those responsible for framing him... Again, Boris Karloff is excellent, playing the role for the sympathy and pathos it deserves. Atmospheric and thoughtful; only the highly familiar plot mars this fine film, with a haunting end.

When the stupidest story you could ever imagine is made with style and professionalism even complete and utter nonsense can give the impression of being clever but is this the thinking man's zombie film? No, it's really just flashy trash - but it looks good, it's quite exciting and with its own spin on the 1930s horror genre even non horror fans might find this reasonably entertaining.

Despite some comments that this isn't a pure horror film, it most definitely is: this is not a gangster movie! Karloff gets framed for a crime and executed. He doesn't know who framed him but after his short sojourn up in heaven he's given the sight and that's the information he needs to set about on his revenge - or is it God's revenge? How much more supernatural horror can you get! Whilst I love 1930s movies, although I can tolerate BRIDE OF FRANKENSTEIN, I'm not a fan of 'classic horror' movies - in fact I really don't like them so why did I watch this? I'm not going to answer: because Marguerite Churchill is gorgeous, that would make me sound very shallow....so I'll think of something else.....

Fans of thirties horror love this picture and it's famous for blending genres which sounds intriguing. I'm however not sure it works because thirties horror films are about situations whereas gangster movies are about people - this definitely goes down the horror route focussing on atmosphere and other worldliness rather than making its characters believable. Unless you can believe the people you're watching are real, you can't engage with them and furthermore, if you don't like them then you don't get emotionally involved. Only Ricardo Cortez gives the impression that he's actually a real person, nobody else. I don't think rooting for him however was what the writers intended though - but you've got to admit, he is a pretty likeable villain! Karloff is essentially playing Frankenstein's monster but with added pathos and reduced philosophy. Supposedly deep and meaningful words are spoken about how man should not play God but reading aloud a few proverbs and old adages in a script hardly makes you question the meaning of life! Whilst this seems to consider itself elevated above all the other trashy thirties horror flicks, it isn't really, it still has the intellectual depth of FLASH GORDON'S TRIP TO MARS.....but it is quite fun.

I have to agree with those who consider Karloff an underrated actor. Given the nature of this film and its fantastic premise, he brings a real subtlety to the role. After each of his antagonists meet their untimely demise, there is just a hint of remorse and sadness. Who else in the horror genre would have underplayed it like that? Karloff becomes the walking conscience of his tormentors and apart from the films failings regarding plot, effects etc., I think it works quite nicely on the level of allegory.

The Walking Dead (1936) is more of a somber drama with horror and gangster genre elements than an all-out chill fest. Still, it's worth a watch.

Karloff gives the best of his unsung performances here. His melancholy and pensive characterization is perfectly mixed with a quiet menace reminiscent of his portrayal of Imhotep in the 1932 version of The Mummy.

The atmosphere and cinematography are beautiful in that black-and-white 1930s horror way. So eerie and sad.

Michael Curtiz's direction is good, though not as impressive as his later work would be. The other actors are adequate, but none can sustain the same interest as Karloff.

Classic horror nerds will enjoy this, though it's not in the same ranks as the likes of The Black Cat (1934) or Dr. Jekyll and Mr. Hyde (1931).

I dare you to type the title of this film in Google, YouTube or even here on IMDb. As a fan of classic horror, I find it very frustrating that you must scroll down endlessly to find it, because the first eight pages or so are dedicated to articles, images and pages for the popular zombie TV-series with the same name!

So, now that's off my chest, I can underline what a clever and atmospheric yet unjustly underrated horror/thriller "The Walking Dead" is! Although not groundbreaking or original anymore by 1936, the plot of Karloff resurrected from the dead to wreak havoc against the ones who wronged him remains haunting and tense! The film is an early mixture of genres, namely gangster film and horror, but thanks to the phenomenal craftsmanship of director Michael Curtiz and lead star Boris Karloff, "The Walking Dead" doesn't feel like a cheap attempt to cash in on both streams at the same time. Curtiz' professionalism is nearly indescribable, in fact. The man directed nearly 180 films, and yet they are all unique. This one greatly benefices from influences of gothic and expressionist film styles, and of course the almost naturally macabre charisma of the protagonist. John Ellman is a pianist and former convict who desperately tries to bring his life back on the rails when he turns to his lawyer Nolan for help. The corrupt and ruthless Nolan instead frames Ellman for the murder of an eminent judge and defends him poorly enough to get him sentenced to death in the electric chair. Ellman's innocence is proved moments after his execution, which motives Dr. Beaumont to use Ellman's body in a revolutionary scientific experiment to bring him back to life. Ellman is motionless and amnesic at first, but his memory returns through practicing his music; - and so does his hunger for justice and retaliation! "The Walking Dead" suffers somewhat from a mandatory slow (but nevertheless atmospheric and well-acted) first half, but the second half is brilliantly tense and packed with memorable highlights. The piano recital sequence, for instance, where the expressions on the murderers' faces grow increasingly petrified while Ellman's own face shows a madly accusing grimace, is insanely suspenseful. The corrupted men meet their fates in gruesome ways, like underneath trains or in nasty car accidents, making "The Walking Dead" a fierce film and Ellman an exceptional avenging angel who hardly even makes his hands dirty. Excellent film, never mind that it's more than 80 years old, because it remains a must-see!

In order to dispose of an honest judge a small group of racketeers hire a local gunman to kill him and then set up a recently released convict named "John Ellman" (Boris Karloff) to take the fall. Sure enough, John Ellman is convicted and then sent to the electric chair due in large part because of two witnesses named "Jimmy" (Warren Hull) and his girlfriend "Nancy" (Marguerite Churchill) who wait too long to come forward. Fortunately, a physician named "Dr. Beaumont" (Edmund Gwenn) comes up with a novel idea to bring John Ellman back to life even though he has been dead for several hours. Although his plan succeeds there is something much different about John which nobody can quite seem to figure out. Now rather than reveal any more of the plot and risk spoiling this movie for those who haven't seen it I will just say that for a short, relatively low-budget motion picture produced in 1936 this film turned out to be quite good all things considered. I especially liked the performances of Boris Karloff and to a lesser degree that of Marguerite Churchill along with the nifty (albeit now antique) cars used in this movie. Be that as it may, I enjoyed this film and rate it as above average.

No, this is not the comic book or TV series, and there are no zombies to be seen. In this case, "The Walking Dead" is the story of John Ellman - an ex-con who just two weeks after his release from prison is wrongfully convicted of the murder of the judge who originally sentenced him for his earlier crime. Ellman is the victim of a conspiracy among a group of rackateers who wanted the judge dead - a conspiracy that included his own lawyer. But Ellman's "good fortune" (maybe) is that Dr. Beaumont has been doing experiments involving bringing the dead back to life. Convinced by two of his associates (who know Ellman is innocent) to try his procedure on Ellman, Beaumont succeeds in raising him from the dead - and becomes fixated on what Ellman experienced while dead (although that really isn't a particularly well developed sidebar to the story.) Ultimately, Ellman takes revenge on those who framed him - although his revenge seems to be somewhat supernatural, and he never actually touches anyone.

There's a "Frankenstein-ish" quality to this very short movie - which includes Boris Karloff (famous, of course, as Frankenstein's monster in the 1931 movie and the later "Bride of Frankenstein" in 1935.) In fact, Karloff apparently expressed some concerns that in the original script, Ellman was too much like the monster - especially because of his inability to speak - and the script was rewritten to accommodate Karloff's concerns. Even Beaumont's process of reviving Ellman resembled Dr. Frankenstein's experiment just a little bit - with bolts of lightning involved. To me, Karloff seemed to put on a ho hum performance. It wasn't especially riveting, although director Michael Curtiz made good use of close ups of Karloff's eyes. But this movie really wasn't at all frightening, and Ellman was no monster, although, again, there's a similarity to "Frankenstein" in the fact that both Ellman and the monster Karloff portrayed in the earlier movies were both objects of sympathy, not really responsible for anything that happened. Aside from the lack of any real fear factor, the movie may have tried to pack a little bit too much into 66 minutes. There are a lot of characters and a somewhat convoluted plot.

Aside from Karloff, I immediately recognized Edmund Gwenn. Still more than a decade away from his famous turn as Kris Kringle in "Miracle on 34th Street, Gwenn here was Dr. Beaumont. He was all right in the role, but I honestly didn't feel that any of the cast were particular standouts, and the story is, for my taste, too much of a rehash of some of the basic plot of "Frankenstein." (3/10)

"The Walking Dead" is one of those films that may not be shown too often but when it is, you get your money's worth.

Released in 1936, Boris Karloff plays a man who is wrongly convicted of the murder of a local judge.

A scientist brings Karloff back to life after conducting various experiments. The gangsters responsible are brought to book by Karloff in his own way.

Michael Curtiz directs this one with a more "no- nonsense" but professional manner. Running at about 65 minutes, "The Walking Dead" has plenty of enjoyment.

Hollywood great Michael Curtiz directs Boris Karloff in this middling thriller about an ex-con, just out prison, who is framed for a judge's murder by racketeers; after he's convicted and killed in the electric chair, a team of scientists revive him. Fatigued entry in the 1930s back-from-the-dead horror cycle doesn't allow Karloff to do anything fresh or substantial (indeed, several of his big moments seem lifted straight from "Frankenstein"!). Curtiz can't do much with this hackneyed scenario, and he's certainly not helped by the unsurprising script, though there is one strong sequence at a piano recital. Otherwise, "The Walking Dead" is D.O.A. *1/2 from ****