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Carnival of Souls

Carnival of Souls

Horror · Mystery · Fantasy · 1962

Mary Henry ends up the sole survivor of a fatal car accident through mysterious circumstances. Trying to put the incident behind her, she moves to Utah and takes a job as a church organist. But her fresh start is interrupted by visions of a fiendish man. As the visions begin to occur more frequently, Mary finds herself drawn to the deserted carnival on the outskirts of town. The strangely alluring carnival may hold the secret to her tragic past.

Movie details

Carnival of Souls

“She Escaped Death. Now It Wants Her Back!”

1962 Horror · Mystery · Fantasy 1h 18m

Critical arithmetic

One number, for now.

TMDB

6.9 / 10

Community rating

Mary Henry ends up the sole survivor of a fatal car accident through mysterious circumstances. Trying to put the incident behind her, she moves to Utah and takes a job as a church organist. But her fresh start is interrupted by visions of a fiendish man. As the visions begin to occur more frequently, Mary finds herself drawn to the deserted carnival on the outskirts of town. The strangely alluring carnival may hold the secret to her tragic past.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Carnival of Souls?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Herk Harvey

Written by

Herk Harvey · John Clifford

Candace Hilligoss

Candace Hilligoss

Mary Henry

Herk Harvey

Herk Harvey

The Man

S

Sidney Berger

John Linden

F

Frances Feist

Mrs. Thomas

Art Ellison

Art Ellison

Minister

S

Stan Levitt

Dr. Samuels

T

Tom McGinnis

Organ Factory Boss

Court is in session

Put Carnival of Souls on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.