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White Zombie (film)

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White Zombie
Image of a film poster with a dark green background. Large eyes overlook two hands clasped together. The text at the top reads "With these zombie eyes, he rendered her powerless". In the middle is the title, White Zombie. Below is written "With this zombie grip he made her perform his every desire!".
Theatrical release poster
Directed byVictor Halperin
Written byGarnett Weston
Based onThe Magic Island
1929 novel
by William Seabrook[1]
Produced byEdward Halperin
StarringBela Lugosi[2]
CinematographyArthur Martinelli
Edited byHarold McLernon
Music by
Production
company
Halperin Productions
Distributed byUnited Artists
Release date
  • July 28, 1932 (1932-07-28)
Running time
67 minutes;[5]
or 68 or 70 minutes[4]
CountryUnited States
LanguageEnglish
Budget$50,000 (approx.)[4]

White Zombie is a 1932 pre-Code horror film independently produced by Edward Halperin and directed by Victor Halperin. The screenplay by Garnett Weston, based on The Magic Island by William Seabrook, is about a young woman's transformation into a zombie at the hands of an evil voodoo master. Bela Lugosi stars as the zombie master "Murder" Legendre, with Madge Bellamy appearing as his victim.[6] Other cast members include Joseph Cawthorn, Robert W. Frazer, John Harron, Brandon Hurst, and George Burr MacAnnan.[7][8]

Large portions of White Zombie were shot on the Universal Studios lot, borrowing many props and scenery from other horror films of the era. The film opened in New York to negative reception, with reviewers criticizing the film's over-the-top story and weak acting. While the film made a substantial financial profit as an independent feature, it proved less popular than other horror films of the time.

White Zombie is considered the first feature length zombie film; a loose sequel, Revolt of the Zombies, opened in 1936. Modern reception to White Zombie has been more positive. Some critics have praised the film's atmosphere and compared it to the 1940s horror films of Val Lewton, while others still have unfavorable opinions on the quality of the acting.

Plot

[edit]

The action of White Zombie is set in Haiti in 1932. Much of the plot revolves around Legendre, Beaumont, another plantation master, and a newly arrived couple, Neil and his fiancée Madeleine,[9] and how Legendre turns her into a "braindead" zombie.[10][11][12]

On arrival in Haiti, Madeleine Short reunites with her fiancé Neil Parker, with imminent plans to be married. On the way to their lodging, the couple's coach passes Murder Legendre, an evil voodoo master, who observes them with interest. Neil and Madeleine arrive at the home of a wealthy plantation owner, Charles Beaumont. Charles' love of Madeleine prompts him to meet Murder secretly in Murder's sugar cane mill, operated entirely by zombies. Charles wants to convince Madeleine to marry him and solicits Murder's supernatural assistance. Murder states that the only way to help Charles is to transform Madeleine into a zombie with a potion. Beaumont agrees, takes the potion, and surreptitiously gives it to Madeleine. Shortly after Madeleine and Neil's wedding ceremony, the potion takes effect on Madeleine, who apparently dies and is buried soon afterward. Murder and Charles enter Madeleine's tomb at night and bring her back to life as a zombie. In a drunken state, a depressed Neil sees ghostly apparitions of Madeleine and goes to her tomb. On finding it empty, Neil seeks out the assistance of the local missionary, Dr. Bruner, who informs him that Madeleine might not be dead at all; he recounts how Murder had used potions to turn many of his rivals into living but soulless zombies, who now act as Murder's closest guardians. The two men journey to Murder's cliffside castle to rescue Madeleine.

At the castle, Charles has begun to regret Madeleine's transformation and begs Murder to return her to life, but Murder refuses. Charles discovers he has been tainted by Murder's voodoo and is also transforming into a zombie. As Neil enters the fortress, Murder senses his presence and silently orders Madeleine to kill Neil. She approaches Neil with a knife, but Bruner grabs her hand from behind a curtain, making her drop the knife and walk away. Neil follows Madeleine to an escarpment, where Murder commands his zombie guardians to kill Neil. Bruner approaches Murder and knocks him out, breaking Murder's mental control over his zombies. Undirected, the zombies topple off the cliff. Murder awakens and eludes Neil and Bruner, but Charles pushes Murder off the cliff. Charles loses his balance and also falls to his death. Murder's death releases Madeleine from her zombie trance, and she awakens to embrace Neil.

Murder Legendre

[edit]
Murder Legendre
White Zombie character
Lugosi as Murder Legendre
First appearanceWhite Zombie
Created byVictor Halperin
Portrayed byBela Lugosi
In-universe information
Gendermale
Occupationvoodoo doctor
sugar mill owner
Spousenone
Relativesnone
NationalityHaitian
StatusDeceased

Murder Legendre (also stylised "Murder" Legendre[13][14]) is the antagonist of the film, portrayed by actor Bela Lugosi.[15][16] A malevolent voodoo and zombie master with telepathic powers,[17] this character is remembered as one of the actor's most striking performances[18][19] and has been the subject of various interpretations.

Murder Legendre was born in Haiti somewhere in the 1890s-1900s. At a young age he met Ledot, a witch doctor who taught him all the skills of voodoo and witchcraft.[20] After mastering them all, Murder becomes a vodou master himself.[21] He used his voodoo powers to turn Ledot into a zombie, he then turned many of his enemies into zombies and made them all work as slaves in his sugar mill.[22][23]

The character of Legendre is in general identified as white. But some authors identify him as black. In her essay on White Zombie and the Creole, Gillian Phillips insists that Legendre's ethnicity is ambiguous and that he embodies both sides of Haitian history.[21] Although his name suggests French roots,[24] Legendre is also presented as a foreign personality of indeterminate origin, who resents the way all sides of the society of the island have treated him.[25]

He is presented as a necromancer,[21] a sorcerer,[26] a voodoo master[27] or a zombie master[28]

One of his most defining feature is his "sardonically evil smirk",[29] his hypnotic gaze and "long" hands, as well as a forked beard, the result of make-up work by Jack Pierce.[30]

Inspiration

[edit]

According to author and adventurer William Seabrook in his 1929 novel The Magic Island, a voodoo priestess he met, Maman Celie, briefly inspired Legendre who also is a voodoo priest and witch doctor.[31] In the first chapter of the book, Seabrook describes an innocent Haitian girl being sacrificed and in another, a group of zombies working at a sugar mill.[32]

Analysis

[edit]

Film historian Gary Don Rhodes mentions in his book about White Zombie that Legendre's Haitian nationality, occupation as a voodoo doctor, and appearance link him closely to Satanism, especially Mephistopheles or Satan himself, while Dr. Bruner would represent Christ.[33] Rhodes also mentions that when Beaumont allows Legendre to drug Madeleine, he literally sells his soul to the devil, especially when Legendre drugs him later on to turn him into a zombie as well. Legendre's sugar mill and castle are built and worked on by his mind-controlled zombies, showcasing the slavery also used to built Mephistopheles's castle, even it is said by Rhodes that Legendre himself prays to the devil with his zombie voodoo rituals.[34][35][page needed]

Robert Duffey, in his book about Lugosi, calls the character "one of the great Mephistophelean figures in cinema".[36]

Lugosi's performance

[edit]
Further information: Bela Lugosi filmography

Lugosi is said to have been "severely underpaid" for the performance.[37] The character's malevolence was compared to the actor's own impersonation of Dracula[26] and various commentators consider Lugosi's performance to be his most notable one after the latter.[38]

In his book about horror film, however, Bryan Seen, who describes him in another book as the "epitome of evil",[39] finds that the character is too unidimensional to allow Lugosi to fully show his talent.[40]

Cast

[edit]
White Zombie

Production

[edit]

The zombie theme of White Zombie was inspired by – but the screenplay not based on – the Broadway play by Kenneth Webb titled Zombie.[41][42] Webb sued the Halperins for copyright infringement, but did not win his case.[4] Hoping to cash in on the country's interest in voodoo, which began with William B. Seabrook's 1929 book on Haitian voodou, The Magic Island, the film, then titled Zombie, went into development in early 1932.[43] The Halperins leased office space from Universal Studios.[44] Garnett Weston's story focuses more on action than dialogue.[45] To aid the Halperins, producer Phil Goldstone helped secure funds for White Zombie as he had for other independent films at the time.[44][46] Much of the funding came from Amusement Securities Corp.[4]

White Zombie was filmed in eleven days in March 1932 and was shot at the Universal Studios lot, at RKO-Pathé, and in Bronson Canyon[47][4] on such a small budget – approximately $50,000[4] – that it had to be filmed at night.[48] Other than Béla Lugosi and Joseph Cawthorn, the majority of the cast in White Zombie were actors whose fame had diminished since the silent film era.[46]

By the time Bela Lugosi appeared in White Zombie, he was already popular with contemporary audiences after his starring role in the hit 1931 film Dracula and 1932's Murders in the Rue Morgue, and film historians have found it surprising that he would sign on to a low-budget film by producers (the Halperin brothers) with no track record in Hollywood.[1] Sources vary about Lugosi's salary for his week of work on White Zombie. Claims range between US$500 to $900. Richard Sheffield, who was his close friend in the 1950s, reported a payment of $5,000 for White Zombie on Lugosi's tax returns.[49][50]

The cast and crew's reaction to Lugosi on the set was mixed. Madge Bellamy recalled her collaboration with Lugosi positively, stating that he was very pleasant and that he used to kiss her hand in the morning when they would come on to the set.[51] In contrast, assistant cameraman Enzo Martinelli remarked that "Lugosi wasn't really a friendly type" on set.[51] Actor Clarence Muse, who played the coach driver, claimed that some scenes were partly re-written or re-staged by Lugosi, who also helped to direct some re-takes.[4][1]

Lugosi's model for his portrayal of "Murder" Legendre in White Zombie may have been the character he played in 1919's Slaves of a Foreign Will (Sklaven fremden Willens), his first German film, in which he played a Svengali-like hypnotist with mesmerizing eyes.[1]

Phil Goldstone had previously worked with Bellamy and offered her the role of Madeleine Short for a salary of $5,000.[52] For the role of Dr. Bruner, the Halperins looked for an actor with name value and decided to cast Joseph Cawthorn, who was then known to audiences only as comic relief in stage and film roles.[53] Set designer Ralph Berger utilized the rented sets of previous films. These sets included the great halls from Dracula, pillars and a hanging balcony from The Hunchback of Notre Dame (1923), the dark corridors from Frankenstein (1931) and chairs from The Cat and the Canary (1927).[54] At RKO-Pathé sets from The King of Kings (1927) were used for the interior of Legendre's castle.[1]

In addition to Berger, assistant director William Cody and sound director L.E. "Pete" Clark earned their first film credit by working on White Zombie.[54] Jack Pierce, Lugosi's make-up artist on White Zombie, had been responsible for the make-up of several other famous horror films of the era including Frankenstein, The Wolf Man, and The Mummy (1932).[47][54]

Clarence Muse took over the role of the coach driver after principal photography had already begun. Some footage of the unknown original was used in White Zombie.[4]

The music of White Zombie was supervised by Abe Meyer. Instead of using pre-recorded music, Meyer had orchestras record new versions of compositions for each specific film he was involved in. The music in White Zombie draws from works including Mussorgsky's "Pictures at an Exhibition", Gaston Borch's "Incidental Symphonies", and Hugo Riesenfeld's "Death of the Great Chief".[55] Other pieces on the White Zombie soundtrack include music written by Richard Wagner, H. Maurice Jacquet, Leo Kempenski, and Franz Liszt. The film begins with "Chant", a composition of wordless vocals and drumming, created by Universal Studios employee Guy Bevier Williams, a specialist in ethnic music.[56]

Footage shot for White Zombie was recycled for a follow-up film, Revolt of the Zombies – also made by Halperin Productions – which was released in 1936.[4]

Release

[edit]

White Zombie experienced distribution problems from the beginning, and went through several film studios including Columbia Studios and Educational Pictures before its initial release.[57] United Artists had been distributing several independent and foreign films that year and bought the rights to release White Zombie.[58] A preview of White Zombie's first cut was shown on June 16, 1932, in New York City.[59] This print of White Zombie had a running time of 74 minutes, whereas the regular distribution prints ran for only 69 minutes.[60]

Critical response

[edit]
White Zombie ad from The Film Daily, 1932 mentions the critics' negative reviews, but great box office ticket sales

Most critical reviews focused on the poor silent era-style acting, stilted dialogue, and over-the-top storyline.[61][1] William Boehnel of the New York World-Telegram stated: "The plot...is really ridiculous, but not so startlingly so as the acting."[62] Thornton Delehaney of the New York Evening Post wrote, "[T]he story tries to out-Frankenstein Frankenstein, and so earnest is it in its attempt to be thrilling that it overreaches its mark all along the line and resolves into an unintentional and often hilarious comedy."[62] Irene Thirer of the New York Daily News wrote, "Many fantastic and eerie scenes are evolved, but most of them border on ludicrous".[61] Industry trade reviews were more positive. The Film Daily wrote: "It rates with the best of this type of film [...] Bela Lugosi is very impressive and makes the picture worthwhile".[61] Harrison's Reports wrote, "[The film] is certainly not up to the standards of Dracula or Frankenstein, but the types of audience that go for horror pictures will enjoy it".[63][64]

National media outlet reviewers were generally negative. Commonweal opined, "[The film is] interesting only in measure of its complete failure".[63] Liberty wrote, "If you do not get a shock out of this thriller, you will get one out of the acting". In Vanity Fair's "Worst Movie of 1932" article, Pare Lorentz wrote about a "terrific deadlock with Blonde Venus holding a slight lead over White Zombie, Bring 'Em Back Alive, and Murders in the Rue Morgue".[65] In the United Kingdom, press was mixed. The Kinematograph Weekly thought the film was "quite well acted, and has good atmosphere" but thought, too, it was "not for the squeamish or the highly intelligent".[66] The Cinema News and Property Gazette thought the film was for the "less sophisticated" and that the "exaggerated treatment of the subject achieves reverse effect to thrill or conviction".[67] Years after the film's release, Victor Halperin expressed a distaste for his horror films: "I don't believe in fear, violence, and horror, so why traffic in them?"[68]

Modern critical reception has been mixed, with critics praising the film's atmosphere while deprecating the acting. Time Out London wrote, "Halperin shoots this poetic melodrama as trance... The unique result constitutes a virtual bridge between classic Universal horror and the later Val Lewton productions."[69] TV Guide gave the film three-and-a-half stars out of four, comparing the film's atmosphere to Carl Dreyer's film Vampyr. However, the magazine described the acting as "woefully inadequate", with the exception of Lugosi.[70] Edward G. Bansk, a Val Lewton biographer, identified several flaws in White Zombie, including poor acting, bad timing and other "haphazard and sloppy" film aspects. Bansk wrote, "Although White Zombie is a film with courage, a film difficult not to admire, its ambitions overstep competence of its principal players."[71] Noting Legendre's statement that obedient zombies "work faithfully and are not worried with long hours," the film has also been seen as an allegory of class exploitation under capitalism and colonialism.[72]

Box office

[edit]
Colored publicity shot for White Zombie, featuring Brandon Hurst, Bela Lugosi, Madge Bellamy, and John Harron

White Zombie premiered on July 28, 1932, in New York City's Rivoli Theatre. The film received a mixed box office reception upon its initial release, but was a great financial success for an independent film at the time.[73][74] In 1933 and 1934, the film experienced positive box-office numbers in small towns in the United States, as well as in Germany under the title Flucht von der Teufelsinsel. White Zombie was one of the few American horror films to be approved by the Nazis.[74] The popularity of the film led Victor Halperin to a contract with Paramount Studios.[61]

Opening on July 29, 1932, in Providence, Rhode Island, and Indianapolis, Indiana, the film grossed $9,900 and $5,000, respectively, following one-week engagements. Frankenstein and other contemporary horror films had grossed more in Providence, and the Indianapolis theater "wasn't too happy with White Zombie, but what audiences saw it were pleased enough."[75] In Cleveland, Ohio, White Zombie sold a record 16,728 tickets its first weekend on its initial release in August.[66] In Montreal, Quebec, Canada, the film opened August 3 at the Princess Theatre. The facade had been transformed into a "House of the Living Dead" and "zombies" walked atop the marquee. The film failed to gross its estimated $8,000 and earned only $6,500 following a one-week run at the Princess Theatre. In comparison, Dracula had grossed $14,000 at Montreal's Palace Theatre during its first week in March 1931.[75]

Home media

[edit]

White Zombie was transferred from poor quality prints to VHS and Betamax in the 1980s.[60] The film has been released on DVD from several companies – including K-Tel and Alpha Video — with varying image quality.[76][77] The book Zombie Movies: The Ultimate Guide described the Roan's later DVD release of the title as the best available.[5] The online film database Allmovie features a positive review of the Roan Group's transfer, stating the film "has never looked better".[77] The film was released on Blu-ray on January 29, 2013, from Kino Video.[78]

Aftermath and influence

[edit]
Musician Rob Zombie used the name of the film for his group White Zombie

White Zombie is considered to be the first feature length zombie film and has been described as the archetype and model of all zombie movies.[79][80] Not many early horror films followed White Zombie's Haitian origins style. Other horror films from the 1930s borrowed themes from White Zombie, such as people returning from the dead and other elements of zombie mythology.[81] These films include: The Ghost Breakers (1940), King of the Zombies (1941), I Walked with a Zombie (1943), and The Plague of the Zombies (1966).[82] These films all contain elements from White Zombie including the blank-eyed stares, the voodoo drums, and zombies performing manual labor.[83]

Victor Halperin directed a White Zombie loose sequel, Revolt of the Zombies, which was released in 1936. Béla Lugosi was considered for the role of villain Armand Louque, but the part went to Dean Jagger[84] when the producers had a dispute with Lugosi.[85] Cinematographer Arthur Martinelli and producer Edward Halperin returned.[86] In the film, Lugosi's hypnotic eyes from White Zombie could be seen in the opening montage.[87] Modern critical response to Revolt of the Zombies is generally unfavorable. In a review from Zombie Movies: The Ultimate Guide, the review declares that "[T]here's no experimentation here, only dull composition shots and flatly lit shots of yakking characters in a by-the-numbers plot."[88] AllMovie rated White Zombie three stars out of five, while it gave Revolt of the Zombies only one star and deemed it far inferior to the original.[89][90]

Scenes from White Zombie have appeared in other films including Curtis Hanson's The Hand That Rocks the Cradle, Michael Almereyda's Nadja, and Tim Burton's Ed Wood.[91]

Legendre reappeared later in various stories associated with Prowler.[92]

The heavy metal band White Zombie took their name from the film. The group's vocalist Rob Zombie said of the film, "[It's] a great film that not a lot of people know about...It amazes me that a film that is so readily available can be so lost."[93] In 1997, the Janus company released a model kit based on the Murder Legendre character.[93]

In 2009, it was announced that Tobe Hooper would direct a remake of White Zombie.[94] Jared Rivet wrote the screenplay for Hooper's remake but the project never came to fruition.[94][95]

In 2013-2014, there was a low budget short film remake of White Zombie released by YouTube Channel RagnBone and starring Scarlett Sheppard, Isaac Eastwood and Heather Hepburn as a character based on Legendre.[96]

The character, who, according to Mark Clark in his books about acting in horror cinema, remains "endlessly fascinating",[97] is also central to a 2017 novel prequel to the film: Memoirs of Murder: A Prequel to the 1932 Classic, White Zombie by Brad A. Braddock, that contains a fictional "personal diary of Murder Legendre himself".[98][third-party source needed]

There was also originally going to be a remake of White Zombie in 2018 by Blumhouse Productions under the leadership of Jason Blum but it is unknown whether those plans are coming in the future or not.[99]

StarAce toys made a 1/6 inch toy model and figure of Murder Legendre based on Bela Lugosi's likeness, which comes equipped with his raven.[100] Other figures representing Legendre have been issued.[101]

In 2023, Rob Zombie and Waxwork Records collaborated to release the original soundtrack of White Zombie on vinyl record, as the first release in a "Rob Zombie Presents" line of horror film soundtracks.[102][103] It was pressed on coloured vinyl and housed in special packaging featuring artwork by Graham Humphreys.[104]

See also

[edit]

References

[edit]

Notes

  1. ^ a b c d e f Stafford, Jeff (ndg) "White Zombie (1932)" TCM.com. Retrieved: March 19, 2018
  2. ^ Film opening credits: "White Zombie with Bela Lugosi"
  3. ^ a b c Rhodes 2001, p. 257
  4. ^ a b c d e f g h i j k l m n o White Zombie at the AFI Catalog of Feature Films
  5. ^ a b Kay 2008, p. 313
  6. ^ Rovin, Jeff (1987). The Encyclopedia of Supervillains. New York: Facts on File. pp. 240–241. ISBN 0-8160-1356-X.
  7. ^ Staff (August 6, 1932) Variety. p.15
  8. ^ Billing order per film opening credits
  9. ^ McGee, Adam M. (2012). "Haitian Vodou and Voodoo: Imagined Religion and Popular Culture". Studies in Religion/Sciences Religieuses. 41 (2): 231–256. doi:10.1177/0008429812441311. ISSN 0008-4298. S2CID 40197372.
  10. ^ Kee, Chera (October 2, 2014). "Good Girls Don't Date Dead Boys: Toying with Miscegenation in Zombie Films". Journal of Popular Film and Television. 42 (4): 176–185. doi:10.1080/01956051.2014.881772. ISSN 0195-6051. S2CID 191489962.
  11. ^ Peters, Michael A.; Besley, Tina (September 5, 2023). Educational Philosophy and Post-Apocalyptical Survival: An Educational Philosophy and Theory Reader Volume XIV (1 ed.). London: Routledge. doi:10.4324/9781003453895. ISBN 978-1-003-45389-5. S2CID 261568927.
  12. ^ Pokornowski, Steven (2013). "Insecure Lives: Zombies, Global Health, and the Totalitarianism of Generalization". Literature and Medicine. 31 (2): 216–234. doi:10.1353/lm.2013.0017. ISSN 1080-6571. PMID 24620649. S2CID 28096329.
  13. ^ Weinstock, Jeffrey Andrew (April 1, 2016). The Ashgate Encyclopedia of Literary and Cinematic Monsters. Routledge. ISBN 978-1-317-04426-0.
  14. ^ Carton, Christopher (July 20, 2022). The Ultimate Book of Movie Monsters. White Owl. ISBN 978-1-3990-9685-0.
  15. ^ Scott, Niall (January 1, 2007). Monsters and the Monstrous: Myths and Metaphors of Enduring Evil. BRILL. doi:10.1163/9789401204811_005. ISBN 978-94-012-0481-1.
  16. ^ Senn, Bryan. Drums of Terror: Voodoo in the Cinema. Midnight Marquee & BearManor Media.
  17. ^ Rhodes, Gary D.; Guffey, Robert. Bela Lugosi and the Monogram Nine. BearManor Media.
  18. ^ Pulliam, June Michele; Fonseca, Anthony J. (June 19, 2014). Encyclopedia of the Zombie: The Walking Dead in Popular Culture and Myth. Bloomsbury Publishing USA. pp. 163–164. ISBN 978-1-4408-0389-5.
  19. ^ Svehla, Gary J. Bela Lugosi: Midnight Marquee Actors Series Revised. Midnight Marquee & BearManor Media.
  20. ^ Recker, Laurel (September 11, 2018). Miller, Joshua; Rogers, Gayle (eds.). "Zombie Palimpsests: Translating US Occupation in White Zombie". Modernism/Modernity Print Plus. 3 (3). doi:10.26597/mod.0068. S2CID 194941361.
  21. ^ a b c Boluk, Stephanie; Lenz, Wylie (July 25, 2011). Generation Zombie: Essays on the Living Dead in Modern Culture. McFarland. ISBN 978-0-7864-8673-1.
  22. ^ Garland, Christopher (May 27, 2015). "Hollywood's Haiti: Allegory, Crisis, and Intervention in The Serpent and the Rainbow and White Zombie". Contemporary French and Francophone Studies. 19 (3): 273–283. doi:10.1080/17409292.2015.1028791. ISSN 1740-9292. S2CID 191367465.
  23. ^ Spencer-Hall, Alicia (2017). "The horror of orthodoxy: Christina Mirabilis, thirteenth-century 'zombie' saint". Postmedieval: A Journal of Medieval Cultural Studies. 8 (3): 352–375. doi:10.1057/pmed.2016.19. ISSN 2040-5960. S2CID 256512290.
  24. ^ Barentsen, Gord (October 12, 2020). A Language Spoken in Tongues: Essays in the Transcultural Gothic. BRILL. ISBN 978-90-04-39941-9.
  25. ^ Moreman, Christopher M.; Rushton, Cory James (August 31, 2011). Race, Oppression and the Zombie: Essays on Cross-Cultural Appropriations of the Caribbean Tradition. McFarland. ISBN 978-0-7864-8800-1.
  26. ^ a b Rasmussen, Randy (March 10, 2006). Children of the Night: The Six Archetypal Characters of Classic Horror Films. McFarland. ISBN 978-0-7864-2725-3.
  27. ^ Pulliam, June Michele; Fonseca, Anthony J. (June 19, 2014). Encyclopedia of the Zombie: The Walking Dead in Popular Culture and Myth. Bloomsbury Publishing USA. ISBN 978-1-4408-0389-5.
  28. ^ Jr, Raymond Valinoti. Hollywood's Pre-Code Horrors 1931-1934. BearManor Media.
  29. ^ Senn, Bryan. Drums of Terror: Voodoo in the Cinema. Midnight Marquee & BearManor Media.
  30. ^ Grant, Barry Keith (March 24, 2022). 100 American Horror Films. Bloomsbury Publishing. ISBN 978-1-83902-144-2.
  31. ^ Lambert, Heather (June 25, 2022). "Murder Legendre's Dead: How White Zombie Challenges Critical Influence and Reinforces Racial Anxieties". Hungarian Journal of English and American Studies. 28 (1). doi:10.30608/HJEAS/2022/28/1/8. ISSN 2732-0421.
  32. ^ The Magic Island. p. The Smithsonian Library. Retrieved December 17, 2023.
  33. ^ Kemp, Taylor (January 14, 2021). "The Legend of Legendre". Medium. Retrieved January 3, 2024.
  34. ^ Analysing White Zombie. January 14, 2021. p. Taylor-Kemp.Medium. Retrieved December 17, 2023.
  35. ^ White Zombie: Anatomy of a Horror Film. McFarland, Gary D. Rhodes. September 3, 2015. p. Google Books. ISBN 9781476604916. Retrieved December 17, 2023.
  36. ^ Guffey, Robert (April 6, 2021). Bela Lugosi's Dead. Crossroad Press. ISBN 978-1-952979-54-5.
  37. ^ Markusen, Bruce (July 27, 2021). Hosted Horror on Television: The Films and Faces of Shock Theater, Creature Features and Chiller Theater. McFarland. ISBN 978-1-4766-4328-1.
  38. ^ Hughes, William; Punter, David; Smith, Andrew (October 8, 2015). The Encyclopedia of the Gothic. John Wiley & Sons. ISBN 978-1-119-21046-7.
  39. ^ Senn, Bryan. Drums of Terror: Voodoo in the Cinema. Midnight Marquee & BearManor Media.
  40. ^ Senn, Bryan (September 3, 2015). Golden Horrors: An Illustrated Critical Filmography of Terror Cinema, 1931-1939. McFarland. ISBN 978-1-4766-1089-4.
  41. ^ Grant 2004, p. 210
  42. ^ Kay 2008, p. 6
  43. ^ Rhodes 2001, p. 89
  44. ^ a b Rhodes 2001, p. 91
  45. ^ Rhodes 2001, p. 95
  46. ^ a b Rhodes 2001, p. 92
  47. ^ a b Rhodes 2001, p. 104
  48. ^ Vieira, Mark A. (2003). Hollywood Horror: From Gothic to Cosmic. New York: Harry N. Abrams, Inc. p. 47. ISBN 0-8109-4535-5.
  49. ^ Rhodes 2001, p. 97
  50. ^ Rhodes 2001, p. 105
  51. ^ a b Rhodes 2001, p. 98
  52. ^ Rhodes 2001, p. 99
  53. ^ Rhodes 2001, p. 100
  54. ^ a b c Rhodes 2001, p. 103
  55. ^ Rhodes 2001, p. 109
  56. ^ Rhodes 2001, p. 110
  57. ^ Rhodes 2001, p. 111
  58. ^ Rhodes 2001, p. 113
  59. ^ Rhodes 2001, p. 112
  60. ^ a b Rhodes 2001, p. 194
  61. ^ a b c d Rhodes 2001, p. 266
  62. ^ a b Rhodes 2001, p. 265
  63. ^ a b Rhodes 2001, p. 267
  64. ^ Harrison's Reports film review; August 6, 1932, page 126.
  65. ^ Rhodes 2001, p. 268
  66. ^ a b Rhodes 2001, p. 162
  67. ^ Rhodes 2001, p. 163
  68. ^ Rhodes 2001, p. 237
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Bibliography

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