Also known as: The Trance of Diana Love (working title)
Release Date: February 14th, 1957 (San Francisco premiere)
Directed by: Roger Corman
Written by: Charles B. Griffith, Mark Hanna
Music by: Ponald Stein
Cast: Pamela Duncan, Richard Garland, Allison Hayes, Val Dufour, Mel Welles, Richard Devon, Billy Barty, Dick Miller
American International Pictures, 75 Minutes
“Hickory dickory dorse / My guest is dead, of course / The clock struck two / He’s turning blue / With little or no remorse.” – Smolkin, the Gravedigger
Man, Roger Corman certainly had a lot of films appear on Mystery Science Theater 3000. But it was all for a good reason and it’s a lot of fun seeing the master of schlock dominate the way he did.
Fans of Corman will probably enjoy this film, even though it’s what I would consider to be below Corman’s normal quality. Normies out there will probably be bored shitless and wonder why anyone would watch this but it takes a special someone to have a real love affair with Corman’s great and uniquely impressive work.
The reason why it is impressive is because Corman can create so much with almost nothing. Now this specific film isn’t the best example of that but for a movie that was made for less than a dime, he’s able to pull this off better than any other director in a similar situation would be able to.
Although bizarre, the story is kind of interesting. A psychic researcher sends the mind of a prostitute back in time in an effort to study her past-life experiences. So the film takes place in the Middle Ages and we soon discover that the prostitute’s older self is going to be killed over suspicions that she’s a witch. The psychic sends himself back in time to convince the prostitute to avoid death but in doing so, her future incarnations can never exist. Ultimately, the psychic ends up stranded in the past.
I wouldn’t call the plot wholly original or anything but it is kind of ambitious for a cheap-o ’50s motion picture.
While the acting isn’t good, it also isn’t atrocious. We also get to see a very young Billy Barty and Dick Miller.
Overall, this is far from Corman’s best but I think that this is a notable picture in his oeuvre, as it almost feels like a spiritual predecessor to his Edgar Allan Poe adaptations of the 1960s, which would primarily star Vincent Price and were some of his absolute best pictures.
Pairs well with: Roger Corman’s other late ’50s/early ’60s films, as well as his Poe adaptations.