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JACQUES TOURNEUR’S I WALKED WITH A ZOMBIE (1943)

 considered I Walked With A Zombie (1943) his best work. It is an assessment many critics agree with. It is, perhaps, the most apt of Halloween entries. Horror is not at its ripest in 7 foot tall hatchet-welding slashers, brain-eating zombies, or slickly produced libidinous teen-age vampires. Rather, it flourishes in the everyday. Horror is in the droves of people flocking to Wal-Mart to purchase torture porn dressed up as religious dogma, or in the self-made blinders we wear. Producer and director Jacques Tourneur knew this, and delivered a fascinating horror despite being handed one of the most idiotic film titles in cinema history (clearly taken from a pulp source).

Betsy (Frances Dee), a Canadian nurse, has taken a position on the island of St. Sebastian. Betsy’s blinders prevent her from hearing. When a black driver transports her to the Holland plantation, he tells her how slaves were acquired and brought here: “Well, they certainly brought you to a pretty island,” is all she can muster. When she meets her employer, Paul Holland (Tom Conway), he pierces her illusions: “There is no beauty here, the water’s illumination comes from death.” Conway, with his sensual, rich voice, narrates in such a way that Betsy’s love for this tragic figure seems reasonable.

Betsy is to care for Holland’s wife, Jessica (Christine Gordon), who is the title’s alleged zombie (the opening voice over plays humorously with the title the studio saddled the producers with). Paul’s alcoholic brother Wesley (James Ellison) evades his own guilt and harbors a grudge for imagined ills. The plot is loosely based off a literary source: “Jane Eyre,” with Paul Holland substituting for Rochester. Surprisingly, Hollywood hack Curt Siodmak assisted Ardel Wray in writing the screenplay. The film feels more in line with Wray’s other credits (which include Lewton’s 1943 Leopard Man and 1945 Isle of the Dead).

Still I Walked with a Zombie (1943)Even the film’s phantasmagoric qualities are filtered through the poetry of concrete reality. The symbology of the sacrificial St. Sebastian manifests in Betsy. Betsy falls hook line and sinker to the local voodoo lore, fed to her by Jessica’s maid, Alma (Teresa Harris). Although Betsy loves Paul, she is willing to sacrifice her love when she takes his wife Jessica to a voodoo priest for a cure. The ceremony itself is filmed kinetically. The natives are as naïve as Betsy and Wesley, having inherited the misogynistic framework of colonial society and transposed it onto the perennial Eve, Jessica. A frequent theme with Lewton is his refusal to see death solely as a negative. The ambiguous watery catacomb is more gifted relief as opposed to undesired finale.

Tourneur and Lewton’s I Walked With A Zombie is a poetic philter, far removed from Romero’s fantasy apocalypses. And that makes for a refreshing All Hallow’s Eve.

Next week: Tourneur’s Leopard Man (1943).

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