Night of the Ghouls
When I first watched the film a few years ago, I thought “Night of the Ghouls” was Ed Wood’s “best” film. Faint praise, I know; that’s like saying that the one punch to the stomach was better than the two before it. Now, however, I’m not sure. Of course, like the rest of Wood’s films that I’ve seen, it’s not “good” in any way, shape or form. But it does has a thoroughly interesting (and narratively logical) story, which is more than I can say for “Glen or Glenda?” or “Bride of the Monster.” Then again, maybe my memory was playing tricks on me in that respect as well.
The real tragedy of “Night of the Ghouls” is that Edward D. Wood Jr. was never able to see the finished product in his lifetime. Filmed in 1958, the film wasn’t completed until the early ’80s (Wood died in 1978) because the hapless director couldn’t afford the costs to process the negatives. In 1983, Wood’s widow, Kathy, told millionaire Wade Williams of the film, and Williams paid the lab fees, and eventually released the film in 1987, giving Woodites one, last film to stew over, and laugh hysterically at.
Similarly to several of Wood’s others films, “Ghouls” is noteworthy for its bizarre, supernatural aspects (very much in tune with B-grade horror and sci-fi of the time); the pretentious, mood-setting narration by infamous psychic Criswell; and ham-handed acting, low-budget sets, and use of stock footage. In a lot of ways, the film also serves as a sequel to “Bride of the Monster.” Once again, there’s evil doings in a small town by Willow’s Lake, this time with Dr. Acula (Kenne Duncan) pretending to be in contact with the dead, and charging people who want him to converse with their deceased loved ones. After getting reports of strange dealings, the local police go to check Dr. Acula’s operation, leading to further mysteries and unintentional comedy.
I think my favorite part of “Night of the Ghouls” is the trumpet on the string. It happens when we see Dr. Acula summoning the spirits of the undead. The trumpet sounds in a sad, comedic way that is just plain goofy, and isn’t really terrifying in any way. Same goes with the shots of ghosts (done the old-fashioned way, with people in white sheets) and what looks like an African hunter speaking backwards. This is some truly weird filmmaking, and some of the most entertaining moments I’ve ever seen in any bad movie. Partially because of his lack of resources, Wood never could nail the subtleties of tone, and yet, that’s part of what makes Wood’s movies so infectiously watchable, regardless of their lack of artistic value. Seeing these moments as Dr. Acula uses low-rent tricks to try and fleece his customers of their money, I remembered why I consider “Night of the Ghouls” Wood’s best film, and oddly enough, it’s the same absurd break with reality and good storytelling that makes “Glen or Glenda?” the director’s worst. Still, it’s impossible to consider Wood’s “best” on the same level as the “best” of, say, Hitchcock or Wood’s hero, Orson Welles. The man just didn’t have the gifts those two masters did, even if his films make just as much an impression on this moviewatcher as “Vertigo” and “Citizen Kane” have. Like those classics, there’s just something about Wood’s movies that continues to draw people to them year after year. I know that, in some crazy way, I feel privileged to have this and Wood’s other films in my collection.
