Messiah of Evil

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A young woman goes searching for her missing artist father. Her journey takes her to a strange Californian seaside town governed by a mysterious undead cult.

Exasminer

Made in 1973, Messiah of Evil (also known as Dead People) seemingly takes inspiration from films that range from the strange and weird (such as Carnival of Souls and Repulsion) to more visceral fare (Night of the Living Dead, for example). The story deals with the susceptibility of humans to the essence of evil—given a proper leader (a “messiah”), it is possible to rally gullible humans to assemble and do anything, including cannibalism. The film also explores the nature of death and what it means to be dead, particularly from a psychological standpoint.

Written and directed by husband-and-wife team Willard Huyck and Gloria Katz (Howard the Duck; screenplay forAmerican Graffiti), Messiah of Evil uses a “living nightmare” structure that will initially take viewers off balance, as the story starts and stops twice before settling in to its proper narrative. The first sequence involves a man running down the road. He enters a yard, where a young woman is waiting. The man seemingly dies before the film goes black, switching to a second sequence where a distorted and contrasted-to-white figure stumbles down a hallway. A narrative indicates that the walker is possibly insane. The screen goes black again, this time centering on a young woman by the name of Arletty (Marianna Hill of High Plains Drifter). It is here that the story proper begins.

Facets of the living nightmare continue throughout the film, although these elements do not disrupt the narrative. Arletty’s goal is to find her father, a reclusive artist who has been working in the small beach town of Point Dune. It is here that she falls in with Thom (Michael Greer), a bohemian who travels with two girls, Toni (Joy Bang of Night of the Cobra Women) and Laura (Anitra Ford of Invasion of the Bee Girls). It seems that Thom collects legends and folklore, and a drunk by the name of Charlie (Elisha Cook, Jr., in a standout performance) has one whopper of a tale.

According to local folklore, a dark stranger emerged from the ocean 100 years ago, his charisma so great that he took command of the town of Point Dune (then known by another name). His power was such that the moon turned red and people turned to consuming raw meat and subsequently those who refused to “believe.”

Unknown to Arletty, Thom, Toni, and Laura, the people of Point Dune have once again succumbed to the influence of the dark stranger, who it is said will once again emerge from the ocean and spread his word beyond the borders of Point Dune. While Arletty struggles for her sanity (and indeed her very soul), Toni and Laura suffer horrible deaths at the hands of the townspeople, who are sometimes led by a hideous albino trucker (Bennie Robinson).

Although by day the townspeople are seemingly “normal,” at night they become “zombies,” creatures that hunt down those who have not been brought into the “order.” These zombies then feast upon the flesh and organs of such disbelievers. The Order also builds great bonfires on the beach to help guide the dark stranger.

Arletty and Thom eventually figure out the legend of Point Beach. A red herring has Arletty’s father returning, hintingthat perhaps he is a reincarnation of the dark stranger. Arletty sets him on fire (the only way to kill him), but this does not stop the Order, which attacks the couple in her father’s house on the following night.

Arletty and Thom manage to escape the attacking members of the Order, but soon they find themselves trapped on the beach. They take to the ocean, where they intend to secure a boat in the distance. However, Thom seemingly drowns (the film makes this obscure), and members of the Order rescue Arletty, who is to be sacrificed to the dark stranger.

The film then makes another abrupt shift, where we find Arletty in an insane asylum. Like her father, she is painting and thinking about the day when she and the members of the Order (the other members of the asylum, it is hinted) will spread the word of the dark stranger to the world. She knows she is dead and soulless, but she clings to fear, knowing that one day she will become the bride of the dark stranger (death?).

Although the film keeps special effects to a minimum and its abrupt cuts will confuse first-time viewers, Messiah of Evil remains a haunting experience, impressive in its ability to conjure living nightmares even during the day. Characterization is sparse and the acting can be a little spotty, but overall the sense of dementia produced by simple sets and controlled performances make this film a real gem.

Those into more visceral horror may be disappointed, as there is little blood here. However, the murder scenes carried out by the Order are filled with tension and are executed with an almost eager aplomb, one sure to make fans of terror stand up and cheer.

Then there are the film’s philosophical delving into topics about death, the soul, and the need to belong. There’s an odd poetic approach to some of these elements, and although some of the sequences may bore viewers, those who are interested will find the exploration borders madness.

What does it mean to die yet remain living? Messiah of Evil tackles this question head on, and the results are not pretty.

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