Le cerveau qui ne voulait pas mourir

The opening credits bear the title THE BRAIN THAT WOULDN'T DIE. Some 80 minutes later, the same film is strangely billed as THE HEAD THAT WOULDN'T DIE in the end credits. That gives you an idea of how much effort went into this '60s schlockfest.

But that doesn't mean it's not worth watching if you're in the right mood. Jason Evers (who would later lend his considerable talents to such memorable efforts as A PIECE OF THE ACTION and A MAN CALLED GANNON) stars as a wacky doc who thinks it'd be just super to keep his fiancée's head alive in his laboratory after her untimely decapitation in a car accident. He's understandably not content marrying a head, so he seeks out an appropriate (though not necessarily willing!) body donor.

Much of the "action" takes place in the mad doc's basement lab (likely marking one of the final times the traditionally cheesy horror film lab set was put to use). Jan Compton (Virginia Leith), or Jan in the Pan as she's called, spends an awful lot of time yapping and whining. Another IMDb reviewer wasn't far off when he likened her to THE HEAD THAT WOULDN'T SHUT UP! Can you blame her? She's understandably not content to live this sort of life. But what's really holding her interest (and mine... there, I admitted it) is the doctor's other monstrous creation, which keeps trying to pound its from behind its single-doored prison. Will our hero find a body for his woman? Are the authorities on to him? Why am I enjoying this so much? Those are just some of the questions you'll find yourself asking.

THE BRAIN THAT WOULDN'T DIE comes to us in the tradition of PLAN 9 FROM OUTER SPACE and THE BEAST OF YUCCA FLATS, though it's not quite on par with those films in terms of "so bad it's good" appeal. As incredible as it sounds, the picture is legitimately able to hold the viewer's interest with its outrageous plot and suspense built up over the creature behind the door. Sure it goes on a bit too long and sure there are dull moments, but what did you expect?

Admit it. If you haven't seen this one, at least part of you wants to. It's probably that part that yearns for pure, unadulterated stupidity from grown men and women from time to time. So indulge that inner glutton with THE BRAIN THAT WOULD'T DIE.

THE BRAIN THAT WOULDN'T DIE was considered so distasteful in 1959 that several cuts and the passage of three years was required before it was released in 1962. Today it is difficult to imagine how anyone could have taken the thing seriously even in 1959; the thing is both lurid and lewd, but it is also incredibly ludicrous in a profoundly bumptious sort of way.

The story, of course, concerns a doctor who is an eager experimenter in transplanting limbs--and when his girl friend is killed in a car crash he rushes her head to his secret lab. With the aid of a few telephone cords, a couple of clamps, and what looks very like a shallow baking pan, he brings her head back to life. But is she grateful? Not hardly. In fact, she seems mightily ticked off about the whole thing, particularly when it transpires that the doctor plans to attach her head to another body.

As it happens, the doctor is picky about this new body: he wants one built for speed, and he takes to cruising disconcerted women on city sidewalks, haunting strip joints, visiting body beautiful contests, and hunting down cheesecake models in search of endowments that will raise his eyebrow. But back at the lab, the head has developed a chemically-induced psychic link with another one of the doctor's experiments, this one so hideous that it is kept locked out of sight in a handy laboratory closet. Can they work together to get rid of the bitter and malicious lab assistance, wreck revenge upon the doctor, and save the woman whose body he hankers for? Could be! Leading man Jason Evers plays the roguish doctor as if he's been given a massive dose of Spanish fly; Virginia Leith, the unhappy head, screeches and cackles in spite of the fact that she has no lungs and maybe not even any vocal chords. Busty babes gyrate to incredibly tawdry music, actors make irrational character changes from line to line, the dialogue is even more nonsensical than the plot, and you'll need a calculator to add up the continuity goofs. On the whole THE BRAIN THAT WOULDN'T DIE comes off as even more unintentionally funny than an Ed Wood movie.

Director Joseph Green actually manages to keep the whole thing moving at pretty good clip, and looking at the film today it is easy to pick out scenes that influenced later directors, who no doubt saw the thing when they were young and impressionable and never quite got over it. The cuts made before the film went into release are forever lost, but the cuts made for television have been restored in the Alpha release, and while the film and sound quality aren't particularly great it's just as well to recall that they probably weren't all that good to begin with.

Now, this is one of those movies that you'll either find incredibly dull or wildly hilarious, depending on your point of view, so it is very hard to give a recommendation. But I'll say this: if your tastes run to the likes of Ed Wood or Russ Meyers, you need to snap this one up and now! Four stars for its cheesy-bizarreness alone! GFT, Amazon Reviewer

With all the "teasecake" in Brain (shot in 1959 but released in 1963), the locations (a loner wandering through strip clubs, swimsuit contests, a model's studio, in a convertible following and picking up women on the street) and the wolfish emphasis on full-length shots of near-naked stacked women, the movie has the sensibility and style of the men's magazines of that time (with symbolic titles like Rogue, Knave, Dude, Bachelor, Caper, etc.). It's surprising that it hasn't been remade and updated, even if only for the cable or home video market, like Not of This Earth, Little Shop of Horrors, How To Make A Monster and other B programmers. Sure it's a cheap little film but that's the fun of it.

For what this is (a rather over-heated horror sci-fi stew), it works for its sheer audacity and shameless full-bore conviction of its aims. Mad scientist movies end up resorting to long shots of people in white lab coats talking in sterile sets. But this one has a woman's head in the tray, fighting with the doctor, yelling at the monster in the closet, and engaging the assistant in metaphysical questions usually not heard in such low-budget potboilers.

Nice dynamic that it's his fiancé that he wants to save...but she has become so bitter since becoming a disembodied head in a tray of water. I remember watching this for the first time on TV in the early 70s and being amazed they used to make movies like this.

Better than average camera work, also, trying to get a sense of vertigo and movement throughout. This film with its hell-bent-for-leather pace is a fever-dream that works because it doesn't let go, or tip you to the fact that the makers thought it was ridiculous as it certainly is.

Be sure to get the restored version with the monster in the closet finally grabbing the doctor's arm and making a bloody mess at the end. A great cathartic bloody end to this near Shakespearean morality play about how man should not meddle in god's business.

Mystery Science Theater 3000 rescues another classic from the dust bin -- and with a new victim for the mind-melting film-watching experiments. Mr. Nelson must suffer through this movie, but we can enjoy his suffering.

Let's see -- where to begin. Slinky babes, sleezy music, severed heads, a closeted monster, a body-beautiful contest, a model who doesn't date men because she hates them all (just like the title character in KISS ME, KATE). And that's just for starters.

A man loses his wife -- well, actually he loses her body but keeps her head, see? Then, of course, since he's a mad scientist, he has to go cruising around looking for a new body so she will be a whole woman again -- 'cause he's not into anything kinky, see?

But guess what? Just like the Wolfman, this unappreciative head just wants to die. How ungrateful, huh?

The dialogue is so overly unintentionally hilarious, you must hear it to believe it, and even then it's hard to believe.

This is a surreal existential treatise that has the subtitle, "A celebration of betrayal." Throw in some sci-fi and morgue humor, and you have a classic! And the closeted monster and the drugged model live happily ever after. What other movie could give you all of this?