This is probably the best (or at least unique) of Edward D. Wood, Jr.'s film.
What sets this film apart is that the first third of the film, dealing with reincarnation, is genuinely interesting, with fairly good dialog, acting and a genuine sense of atmospheric strangeness. The dream sequences are unique for their time and are quite effective.
Sadly, once the film moves to Africa, the film grinds to a halt. Only the downbeat ending lives up to the promise of the first part of the film, but this film shows that Wood did have his moments.
Probably the best part of the film is its unique score by Les Baxter. The music combines Baxter's trademark exotica with a genuine vein of unhealthy, yet bittersweet, romanticism that is truly singular and very effective. It might be interesting to some to know that Baxter used two cues from this film in his landmark exotica album PORTS OF PLEASURE.
What sets this film apart is that the first third of the film, dealing with reincarnation, is genuinely interesting, with fairly good dialog, acting and a genuine sense of atmospheric strangeness. The dream sequences are unique for their time and are quite effective.
Sadly, once the film moves to Africa, the film grinds to a halt. Only the downbeat ending lives up to the promise of the first part of the film, but this film shows that Wood did have his moments.
Probably the best part of the film is its unique score by Les Baxter. The music combines Baxter's trademark exotica with a genuine vein of unhealthy, yet bittersweet, romanticism that is truly singular and very effective. It might be interesting to some to know that Baxter used two cues from this film in his landmark exotica album PORTS OF PLEASURE.