I Walked with a Zombie (1943) – Review

The type of zombies found in modern media are a far cry from their early cinematic depictions as you will find no brains being eaten in these early outings and it was more supernatural affliction rather than viral.  Thus films like 1932’s White Zombie, which dealt with the voodoo aspect of the affliction, and so does the film we will be looking at today, I Walked with a Zombie, an entry that blends voodoo with the narrative structure of Charlotte Bronte’s Jane Eyre.

Loosely based on the article “I Walked with a Zombie” by Inez Wallace, the plot takes place on the tropical island of Saint Sebastian and revolves around Canadian nurse Betsy Connell (Frances Dee) who is assigned to care for Jessica Holland (Christine Gordon), the ailing wife of plantation owner Paul Holland (Tom Conway), who is suffering from some strange waking death. Right from the start it’s made clear this is not your typical horror movie as the romantic chemistry that builds between Betsy and Paul is quite palpable. Paul’s Byronic monologues really get Betsy’s engines running and as the story progresses we learn of the “love triangle” that had existed between Jessica, Paul and Paul’s half-brother Wesley Rand (James Ellison) and that this brotherly betrayal may or may not have led to Jessica’s zombie-like state.

 

Stalking the halls like a mindless sleepwalker.

As Betsy delves deeper into the eerie environment, and discovers the secrets hidden within the island, the line between the supernatural and psychological begins to blur. We learn that Wesley’s mother and Paul’s stepmother (Edith Barrett) has been using the local’s belief in voodoo to slip in actual medical aid to the rather superstitious community, telling the islanders that Vodou spirits speak through her so that they will comply with her medical and sanitary recommendations.  She also holds a darker secret, one that dates back to the supposed tropical fever that put Jessica in her current near-catatonic condition, in fact, every one of the household seems to feel tons of guilt – with the possible exception of Wesley whose alcoholic cheating heart I don’t think can even process guilt – but his love for his brother’s wife will eventually take a page out of an E.C. comic.  What we get isn’t something I’d call a “just end” but it’s definitely poetic.

 

This is not quite walking off into the sunset together.

Stray Observations:

• Despite being optioned by the studio, Val Lewton did not like Inez Wallace’s “I Walked With A Zombie” so he adapted the story to fit the novel “Jane Eyre” as he felt Wallace’s plot was too clichéd. 
• While sailing to Saint Sebastian, Paul tells Betsy “There’s no beauty here, only death and decay. Everything good dies here. Even the stars.” With an attitude like that I’m betting he wasn’t asked to write for the island’s tourism board.
• On her first night, Betsy follows the sounds of a woman sobbing up the stone staircase of the old fort’s tower, and you can add that to my list of “Things I would never bloody do.”
• Both this film and Cat People feature rather graphically violent statuary that figure heavily into the plot.  Val Lewton and Jacques Tourneur clearly liked their symbolism to be a little heavy-handed.
• Dr. Maxwell comments “She makes a beautiful zombie doesn’t she?” which is a statement that will rarely be attributed to the zombie genre again.

 

The ethereal and lovely Christine Gordon.

With this horror entry, Val Lewton and director Jacques Tourneur proved you didn’t need zombies munching on flesh to terrify an audience, just some great lighting and a fantastic score, and it was all back-dropped by a tragic romance.  Basically, there’s a lot to love about this film and one of the most remarkable aspects of I Walked with a Zombie is its skilful use of atmosphere. The movie’s Caribbean setting, accompanied by its impressive cinematography and hauntingly beautiful visuals, creates a sense of other worldliness that permeates every frame. The shadowy forests, mysterious voodoo rituals and the constant presence of the crashing waves contributed to an unsettling ambience, leaving us immersed in a world where the line between reality and nightmare is indistinct.

Note: Jacques Tourneur’s handle of Haitian Vodou’s subject matter was surprisingly tactful and the script never treats it as evil, this is not to say its depiction here doesn’t have spooky elements.

Jacques Tourneur’s direction is masterful, showcasing his ability to build tension and suspense through subtle visual cues and deliberate pacing. The film’s narrative unfolds slowly, allowing both the characters and the audience to become enveloped in the unfolding mystery. And rather than relying on cheap jump scares or excessive gore, Tourneur builds a sense of dread through his expert control of the film’s atmosphere, creating a genuinely unsettling and eerie experience. With the combination of J. Roy Hunt’s brilliant cinematography, creating a world of light and dark, and the haunting score by composer Roy Webb you have the ingredients for a first-class horror movie. Then screenwriters Curt Siodmak and Ardel Wray take the whole genre up a notch and the result is more a tragic love story than it is a horror movie.

 

“If only my wife wasn’t a lifeless zombie, I could divorce her and marry you.”

On the acting side of things, Frances Dee delivers a commendable performance as Betsy Connell, the film’s compassionate and curious protagonist. She exudes a perfect balance of vulnerability and determination, drawing us into her quest for the truth. Tom Conway as Paul Holland adds an air of mystery to the film, portraying a conflicted and haunted man torn between love and duty.  This was a change of pace for him after playing the rather rakish psychiatrist in Cat People. Pretty much all of the supporting cast deserve praise for their contributions, particularly James Ellison as the drunken and tortured brother who is both sympathetic and pathetic in his struggles.  Finally, there is Christine Gordon as the enigmatic zombie-walking Jessica and she does a lot without saying a single word.

 

Not to say that’d I take her for a walk.

At its core, I Walked with a Zombie explores themes of love, fate, and the clash between science and spirituality. It delves into the complexities of the human psyche, examining the power of suggestion and the blurred boundaries between the conscious and the subconscious. By blending supernatural elements with psychological exploration, the film provokes thought and leaves a lasting impression on its viewers. However, it is worth noting that the film’s portrayal of the Caribbean and its inhabitants can be viewed through a lens of colonialism and cultural appropriation, which was prevalent in Hollywood productions of that era. While it is important to acknowledge these problematic aspects, it is also possible to appreciate the film’s artistic merits and its contributions to the horror genre.

Note: Jessica is stabbed in the arm during a voodoo ceremony and doesn’t bleed, which causes the islanders to believe she is an actual zombie, and while the film never declares the events depicted here as being supernatural this lack of bleeding is never explained.

In conclusion, I Walked with a Zombie is a classic horror film that continues to captivate audiences with its timeless atmosphere, exquisite visuals and evocative storytelling. It is Jacques Tourneur’s direction, coupled with standout performances of its cast that makes this film an unforgettable cinematic experience. Despite its age, this movie remains an essential watch for fans of classic horror and anyone seeking a haunting journey into the depths of the human psyche.