The Thing That Couldn't Die


1h 9m 1958
The Thing That Couldn't Die

Brief Synopsis

A severed head uses psychic powers to control the minds of several people.

Film Details

Also Known As
The Water Witch
Genre
Horror/Science-Fiction
Horror
Release Date
Jun 1958
Premiere Information
New York opening: 27 Jun 1958
Production Company
Universal-International Pictures Co., Inc.
Distribution Company
Universal Pictures Co., Inc.
Country
United States

Technical Specs

Duration
1h 9m
Sound
Mono
Color
Black and White
Film Length
7 reels

Synopsis

In the California countryside, eighteen-year-old Jessica Burns uses her divining power to douse for water on the ranch of her aunt, Flavia MacIntyre. Jessica is distracted, however, by the arrival of archaeologist Gordon Hawthorne, who is visiting his childhood hometown for the summer along with his friends, artist Hank Houston and Hank's fiancée Linda Madison. Gordon, shocked to note how mature and lovely Jessica has grown, gently mocks her "superstitions," spurring her to locate an underground spring in defiance. As soon as handymen Boyd Abercrombie and Mike begin digging, however, Jessica begs them to stop, as she detects something evil buried nearby. When the group refuses to heed her warning, she shouts that she wishes a tree would fall on them, and one immediately does, hitting Linda. Although Linda is unhurt, Jessica is full of remorse, and tries to explain her powers to the three visitors. When Gordon chides her for believing in fairy tales, she announces that the watch Linda has lost can be found in the base of a tree. Gordon searches and finds the watch and also a talisman, which he presents to Jessica as an apology, promising that it will protect her. After digging all night, Boyd and Mike uncover a metal chest, which Flavia assumes is filled with treasure. Gordon sees Old English writing on the outside, however, and convinces her that the chest may be worth more intact than pried open. While he leaves for Berkeley to secure the help of noted archaeologist Julian Ash, Flavia locks the chest in a room of her house and instructs Boyd and Mike to guard it overnight. When Jessica refuses to stay in the house with the chest, Linda invites her to sleep in her cabin, then leaves with Hank to attend a dance. As Jessica and Flavia retire to bed, Boyd watches Jessica lasciviously, then steals the room key and urges Mike, who is strong but mentally handicapped, to break open the chest. Mike soon opens the box, inside which lies the disembodied, live head of Gideon Drew, a sixteenth-century devil worshipper. Drew's eyes hypnotize Mike into doing his bidding, and when Boyd enters, Mike kills him and drags the body and the head outside. The noise wakes Flavia, who screams for Jessica. Upon discovering the empty chest and blood on the floor, they contact the police, not knowing that Mike is outside holding Drew's head to the window, where he spies Jessica's talisman necklace. Soon after, Gordon returns with Julian and suggests that Jessica try to find the wounded party with her divining rod. Although she is hesitant to use her powers merely to recover "treasure," Gordon convinces her the wounded man might need help, and she agrees. The rod leads her outside to Mike and Drew, where she faints and has a vision of the past: Drew is sentenced to a living death for having traded himself to the devil in exchange for the ability to control humans with his eyes. His head will now be severed from his body and each buried separately, because the devil will not take an incomplete person. Declaring that the curse will last until the head and body are re-joined, the executioners carry out their task. Jessica awakens and discovers Boyd's body just as the police arrive and declare that Mike is the killer, but fail to apprehend him. Later, Mike brings Drew's head to the cabin window, where he hypnotizes Linda and instructs her to steal the talisman. Jessica, however, refuses to part with it. Linda then cruelly rejects Hank, who returns to his cabin, perplexed and distraught. In the morning, Hank drinks while Gordon and Julian clean the chest and read its inscription, which describes Drew's curse. Julian is eager to find the casket with the body in order to bring it to his museum, and offers Flavia $5,000 to dig up her ranch in his search. Linda enters and coldly suggests that Jessica find it with her rod, after which she announces that the girl is now alone with Hank in his cabin. Just then, however, Jessica flees a drunken Hank, and upon hearing the plan to find the second casket, vows to run away. While Flavia unsuccessfully attempts divining with Julian, Gordon comforts Jessica and asks for the talisman back, due to its historical value. She agrees and then leaves to bid goodbye to Linda, who presents her with a "gift." The box contains Drew's head, which is able to hypnotize Jessica into helping find his body. Gordon is concerned when Jessica reappears in a slinky black dress and announces her intention to stay. With Linda and Hank, he follows Jessica as she locates the site. When Gordon questions her change of heart, she kisses him, then pushes him away. The men dig up the casket and drag it into the house, where the headless body pushes open the lid and turns to Jessica, who reattaches its head. Although Gordon shoots at Drew, he remains protected by Satan, and is bloodthirsty from his years of imprisonment. Disdaining Jessica and Linda as "too cold" and Hank as too drunk, Drew chooses Gordon as his first victim. As Drew advances, Gordon pulls out the talisman, the sight of which causes Drew to cower in fear. When Drew falls backward into the casket, Gordon shuts him in. When they open the lid minutes later, all that remains of Drew is a skeleton, and his hypnotic trances have been broken. As Linda apologizes to Hank, Gordon replaces the talisman around Jessica's neck, to protect them both in their future together.

Photo Collections

The Thing That Couldn't Die - Artist Reference Photos
Here are a few photos of actor Robin Hughes in full makeup from The Thing That Couldn't Die (1958), given to artist Reynold Brown to serve as reference as he painted the poster art for the film.

Film Details

Also Known As
The Water Witch
Genre
Horror/Science-Fiction
Horror
Release Date
Jun 1958
Premiere Information
New York opening: 27 Jun 1958
Production Company
Universal-International Pictures Co., Inc.
Distribution Company
Universal Pictures Co., Inc.
Country
United States

Technical Specs

Duration
1h 9m
Sound
Mono
Color
Black and White
Film Length
7 reels

Articles

The Gist (The Thing that Couldn't Die)


As far as living head movies go, The Thing That Couldn't Die (1958) possesses surprisingly long legs. Cranked out at Universal-International towards the end of the studio's run of atomic age horror and sci-fi films - post-Creature from the Black Lagoon (1954), post-Tarantula (1955), post-Monster on the Campus (1958) and long after the abdication of series frontmen Richard Carlson and John Agar, as U-I was divesting itself of its contract players and stable of writers - the feature was intended as fodder for drive-in double bills and second run cinemas. Made for a miserly $150,000, The Thing That Couldn't Die has never appeared on a legitimate VHS tape or DVD but remains a fan favorite, engendering warm memories and kind words from those who saw it originally via late night television or as a Saturday afternoon spookshow. The project originated with David Duncan (a writer with credits ranging from The Monster That Challenged the World and The Black Scorpion (both 1957) to Monster on the Campus and the American edit of Ishiro Honda's Rodan, 1956), who sold his original story "The Water Witch" to U-I and was retained to write the screenplay.

Principal photography on The Water Witch (as the project was known early into production) began in late January 1958, on the Universal backlot, making use of a standing farmhouse set left over from the studio's Ma and Pa Kettle comedies. Tinkering with historical fact, The Thing That Couldn't Die spins a tale of the collision of science and superstition at the burial site of one Gideon Drew, "the foulest and wickedest man to ever set feet upon the earth." A member of privateer Sir Francis Drake's expedition to the Americas in the late 16th Century, Drew had been branded a Satanist (an allusion to Drake's real life execution of co-commander Thomas Doughty, whom he accused of witchcraft and executed on July 2, 1758) and beheaded at an unmarked spot on the California coastline, with head and body buried apart to curse the blighter with everlasting torment. The search for water in present day Southern California leads to the discovery of Drew's undying noggin and its deleterious effect on a handful of contemporary folk, among them a handsome young scientist (William Reynolds) and a beautiful girl (Carolyn Kearney) endowed with second sight.

One of only two features helmed by short subject director Will Cowan, The Thing That Couldn't Die suffers from early inertia aggravated by Russell Metty's flat camerawork (Metty was jobbing here between Magnificent Obsession [1954] for Douglas Sirk and Touch of Evil [1958] for Orson Welles) as the protagonists discover the strong box buried in canyon country and attempt to make sense of its cautionary inscription ("If ye valuest thy immortal soul, open not this accursed chest..."). Already borrowing from The Mummy (1932), the script folds in John Steinbeck's Of Mice and Men when roughneck ranch hand (To Kill a Mockingbird's [1962] James Anderson) and his simpleton friend (Charles Horvath) appropriate the box for personal gain, only to have Horvath possessed by the living head, murder Anderson, and set off to bond Drew to his lower corporeality. The villain takes a long time to come together, the interim filled with additional possessions (when Horvath is gunned down, Andra Martin's artist's model assumes the dogsbody, porting Drew's head around in a hatbox) and a spooky flashback detailing Drew's execution, which plays like a dry run for the entombment of Barbara Steele in Mario Bava's Black Sunday (1960).

The fright factor of The Thing That Couldn't Die is keyed to the viewer's anxiety as to where Gideon Drew's head might bob up next. George Méliés' The Triple Conjurer and the Living Head (1900) may have been the first film to make cinematic hay out of a head living without a body and Tod Browning's silent The Show (1927) and Melville Shyer's Poverty Row whodunit Murder in the Museum (1934) both presented the phenomenon as sideshow legerdemain. W. Lee Wilder's The Man Without a Body (1957) worked the surviving head of Nostradamus into its plot mechanics but The Thing That Couldn't Die seems to have inspired a proper subgenre, followed as it was by Bert I. Gordon's Tormented (1960), Joseph Green's The Brain That Wouldn't Die (1962), Chano Urueta's The Living Head (1963), David Bradley's Madman of Mandoras (aka, They Saved Hitler's Brain, 1963), and Herbert J. Leder's The Frozen Dead (1966), and pointing the way to the ne plus ultra of Stuart Gordon's Re-Animator (1985). The Thing That Couldn't Die also anticipates Disney's Blackbeard's Ghost (1968) and Jack Woods' back country spooker Equinox (1970), which in turn inspired Sam Raimi's The Evil Dead (1981).

However undervalued they might have been at their home studio, the cast of The Thing That Couldn't Die was of interesting pedigree. Surviving a studio cut that had sent both Clint Eastwood and Burt Reynolds packing, William Reynolds had a brooding Johnny Depp quality that served him well in such programmers as Cult of the Cobra (1955) and Douglas Sirk's All That Heaven Allows (1955) and would earn him starring roles on a number of weekly TV series, most memorably ABC's long-running procedural The FBI (1965-1974). Playing the baby of the cast but older than most of her costars, Carolyn Kearney (in a role turned down by Jill St. John) enjoyed a fifteen year career, mostly in episodic television, guesting on such series as Alfred Hitchcock Presents, Route 66, and The Twilight Zone. Third-billed Jeffrey Stone had been the reference model for Prince Charming in Disney's Cinderella (1950) and provided the original story for the British sci-fi thriller Unearthly Stranger (1964). If the actor playing Gideon Drew looks deucedly familiar, you may remember the Argentina-born Robin Hughes as The Twilight Zone's eponymous "Howling Man" but previously he had been on the side of the angels, providing the voice of Jesus Christ in Mervyn LeRoy's Quo Vadis (1951).

By Richard Harland Smith

Sources:

Disaster and Memory: Celebrity Culture and the Crisis of Hollywood Cinema by Wheeler Winston Dixon (Columbia University Press, 1999)

Keep Watching the Skies! American Science Fiction Movies of the Fifties - 21st Century Edition by Bill Warren (McFarland and Company, 2009)

William Reynolds interview by Tom Weaver, I Talked With a Zombie: Interviews with 23 Veterans of Horror and Sci-Fi Films and Television (McFarland and Company, 2008)

The Gist (The Thing That Couldn't Die)

The Gist (The Thing that Couldn't Die)

As far as living head movies go, The Thing That Couldn't Die (1958) possesses surprisingly long legs. Cranked out at Universal-International towards the end of the studio's run of atomic age horror and sci-fi films - post-Creature from the Black Lagoon (1954), post-Tarantula (1955), post-Monster on the Campus (1958) and long after the abdication of series frontmen Richard Carlson and John Agar, as U-I was divesting itself of its contract players and stable of writers - the feature was intended as fodder for drive-in double bills and second run cinemas. Made for a miserly $150,000, The Thing That Couldn't Die has never appeared on a legitimate VHS tape or DVD but remains a fan favorite, engendering warm memories and kind words from those who saw it originally via late night television or as a Saturday afternoon spookshow. The project originated with David Duncan (a writer with credits ranging from The Monster That Challenged the World and The Black Scorpion (both 1957) to Monster on the Campus and the American edit of Ishiro Honda's Rodan, 1956), who sold his original story "The Water Witch" to U-I and was retained to write the screenplay. Principal photography on The Water Witch (as the project was known early into production) began in late January 1958, on the Universal backlot, making use of a standing farmhouse set left over from the studio's Ma and Pa Kettle comedies. Tinkering with historical fact, The Thing That Couldn't Die spins a tale of the collision of science and superstition at the burial site of one Gideon Drew, "the foulest and wickedest man to ever set feet upon the earth." A member of privateer Sir Francis Drake's expedition to the Americas in the late 16th Century, Drew had been branded a Satanist (an allusion to Drake's real life execution of co-commander Thomas Doughty, whom he accused of witchcraft and executed on July 2, 1758) and beheaded at an unmarked spot on the California coastline, with head and body buried apart to curse the blighter with everlasting torment. The search for water in present day Southern California leads to the discovery of Drew's undying noggin and its deleterious effect on a handful of contemporary folk, among them a handsome young scientist (William Reynolds) and a beautiful girl (Carolyn Kearney) endowed with second sight. One of only two features helmed by short subject director Will Cowan, The Thing That Couldn't Die suffers from early inertia aggravated by Russell Metty's flat camerawork (Metty was jobbing here between Magnificent Obsession [1954] for Douglas Sirk and Touch of Evil [1958] for Orson Welles) as the protagonists discover the strong box buried in canyon country and attempt to make sense of its cautionary inscription ("If ye valuest thy immortal soul, open not this accursed chest..."). Already borrowing from The Mummy (1932), the script folds in John Steinbeck's Of Mice and Men when roughneck ranch hand (To Kill a Mockingbird's [1962] James Anderson) and his simpleton friend (Charles Horvath) appropriate the box for personal gain, only to have Horvath possessed by the living head, murder Anderson, and set off to bond Drew to his lower corporeality. The villain takes a long time to come together, the interim filled with additional possessions (when Horvath is gunned down, Andra Martin's artist's model assumes the dogsbody, porting Drew's head around in a hatbox) and a spooky flashback detailing Drew's execution, which plays like a dry run for the entombment of Barbara Steele in Mario Bava's Black Sunday (1960). The fright factor of The Thing That Couldn't Die is keyed to the viewer's anxiety as to where Gideon Drew's head might bob up next. George Méliés' The Triple Conjurer and the Living Head (1900) may have been the first film to make cinematic hay out of a head living without a body and Tod Browning's silent The Show (1927) and Melville Shyer's Poverty Row whodunit Murder in the Museum (1934) both presented the phenomenon as sideshow legerdemain. W. Lee Wilder's The Man Without a Body (1957) worked the surviving head of Nostradamus into its plot mechanics but The Thing That Couldn't Die seems to have inspired a proper subgenre, followed as it was by Bert I. Gordon's Tormented (1960), Joseph Green's The Brain That Wouldn't Die (1962), Chano Urueta's The Living Head (1963), David Bradley's Madman of Mandoras (aka, They Saved Hitler's Brain, 1963), and Herbert J. Leder's The Frozen Dead (1966), and pointing the way to the ne plus ultra of Stuart Gordon's Re-Animator (1985). The Thing That Couldn't Die also anticipates Disney's Blackbeard's Ghost (1968) and Jack Woods' back country spooker Equinox (1970), which in turn inspired Sam Raimi's The Evil Dead (1981). However undervalued they might have been at their home studio, the cast of The Thing That Couldn't Die was of interesting pedigree. Surviving a studio cut that had sent both Clint Eastwood and Burt Reynolds packing, William Reynolds had a brooding Johnny Depp quality that served him well in such programmers as Cult of the Cobra (1955) and Douglas Sirk's All That Heaven Allows (1955) and would earn him starring roles on a number of weekly TV series, most memorably ABC's long-running procedural The FBI (1965-1974). Playing the baby of the cast but older than most of her costars, Carolyn Kearney (in a role turned down by Jill St. John) enjoyed a fifteen year career, mostly in episodic television, guesting on such series as Alfred Hitchcock Presents, Route 66, and The Twilight Zone. Third-billed Jeffrey Stone had been the reference model for Prince Charming in Disney's Cinderella (1950) and provided the original story for the British sci-fi thriller Unearthly Stranger (1964). If the actor playing Gideon Drew looks deucedly familiar, you may remember the Argentina-born Robin Hughes as The Twilight Zone's eponymous "Howling Man" but previously he had been on the side of the angels, providing the voice of Jesus Christ in Mervyn LeRoy's Quo Vadis (1951). By Richard Harland Smith Sources: Disaster and Memory: Celebrity Culture and the Crisis of Hollywood Cinema by Wheeler Winston Dixon (Columbia University Press, 1999) Keep Watching the Skies! American Science Fiction Movies of the Fifties - 21st Century Edition by Bill Warren (McFarland and Company, 2009) William Reynolds interview by Tom Weaver, I Talked With a Zombie: Interviews with 23 Veterans of Horror and Sci-Fi Films and Television (McFarland and Company, 2008)

The Thing That Couldn't Die -


As far as living head movies go, The Thing That Couldn't Die (1958) possesses surprisingly long legs. Cranked out at Universal-International towards the end of the studio's run of atomic age horror and sci-fi films - post-Creature from the Black Lagoon (1954), post-Tarantula (1955), post-Monster on the Campus (1958) and long after the abdication of series frontmen Richard Carlson and John Agar, as U-I was divesting itself of its contract players and stable of writers - the feature was intended as fodder for drive-in double bills and second run cinemas. Made for a miserly $150,000, The Thing That Couldn't Die has never appeared on a legitimate VHS tape or DVD but remains a fan favorite, engendering warm memories and kind words from those who saw it originally via late night television or as a Saturday afternoon spookshow. The project originated with David Duncan (a writer with credits ranging from The Monster That Challenged the World and The Black Scorpion (both 1957) to Monster on the Campus and the American edit of Ishiro Honda's Rodan, 1956), who sold his original story "The Water Witch" to U-I and was retained to write the screenplay.

Principal photography on The Water Witch (as the project was known early into production) began in late January 1958, on the Universal backlot, making use of a standing farmhouse set left over from the studio's Ma and Pa Kettle comedies. Tinkering with historical fact, The Thing That Couldn't Die spins a tale of the collision of science and superstition at the burial site of one Gideon Drew, "the foulest and wickedest man to ever set feet upon the earth." A member of privateer Sir Francis Drake's expedition to the Americas in the late 16th Century, Drew had been branded a Satanist (an allusion to Drake's real life execution of co-commander Thomas Doughty, whom he accused of witchcraft and executed on July 2, 1758) and beheaded at an unmarked spot on the California coastline, with head and body buried apart to curse the blighter with everlasting torment. The search for water in present day Southern California leads to the discovery of Drew's undying noggin and its deleterious effect on a handful of contemporary folk, among them a handsome young scientist (William Reynolds) and a beautiful girl (Carolyn Kearney) endowed with second sight.

One of only two features helmed by short subject director Will Cowan, The Thing That Couldn't Die suffers from early inertia aggravated by Russell Metty's flat camerawork (Metty was jobbing here between Magnificent Obsession [1954] for Douglas Sirk and Touch of Evil [1958] for Orson Welles) as the protagonists discover the strong box buried in canyon country and attempt to make sense of its cautionary inscription ("If ye valuest thy immortal soul, open not this accursed chest..."). Already borrowing from The Mummy (1932), the script folds in John Steinbeck's Of Mice and Men when roughneck ranch hand (To Kill a Mockingbird's [1962] James Anderson) and his simpleton friend (Charles Horvath) appropriate the box for personal gain, only to have Horvath possessed by the living head, murder Anderson, and set off to bond Drew to his lower corporeality. The villain takes a long time to come together, the interim filled with additional possessions (when Horvath is gunned down, Andra Martin's artist's model assumes the dogsbody, porting Drew's head around in a hatbox) and a spooky flashback detailing Drew's execution, which plays like a dry run for the entombment of Barbara Steele in Mario Bava's Black Sunday (1960).

The fright factor of The Thing That Couldn't Die is keyed to the viewer's anxiety as to where Gideon Drew's head might bob up next. George Méliés' The Triple Conjurer and the Living Head (1900) may have been the first film to make cinematic hay out of a head living without a body and Tod Browning's silent The Show (1927) and Melville Shyer's Poverty Row whodunit Murder in the Museum (1934) both presented the phenomenon as sideshow legerdemain. W. Lee Wilder's The Man Without a Body (1957) worked the surviving head of Nostradamus into its plot mechanics but The Thing That Couldn't Die seems to have inspired a proper subgenre, followed as it was by Bert I. Gordon's Tormented (1960), Joseph Green's The Brain That Wouldn't Die (1962), Chano Urueta's The Living Head (1963), David Bradley's Madman of Mandoras (aka, They Saved Hitler's Brain, 1963), and Herbert J. Leder's The Frozen Dead (1966), and pointing the way to the ne plus ultra of Stuart Gordon's Re-Animator (1985). The Thing That Couldn't Die also anticipates Disney's Blackbeard's Ghost (1968) and Jack Woods' back country spooker Equinox (1970), which in turn inspired Sam Raimi's The Evil Dead (1981).

However undervalued they might have been at their home studio, the cast of The Thing That Couldn't Die was of interesting pedigree. Surviving a studio cut that had sent both Clint Eastwood and Burt Reynolds packing, William Reynolds had a brooding Johnny Depp quality that served him well in such programmers as Cult of the Cobra (1955) and Douglas Sirk's All That Heaven Allows (1955) and would earn him starring roles on a number of weekly TV series, most memorably ABC's long-running procedural The FBI (1965-1974). Playing the baby of the cast but older than most of her costars, Carolyn Kearney (in a role turned down by Jill St. John) enjoyed a fifteen year career, mostly in episodic television, guesting on such series as Alfred Hitchcock Presents, Route 66, and The Twilight Zone. Third-billed Jeffrey Stone had been the reference model for Prince Charming in Disney's Cinderella (1950) and provided the original story for the British sci-fi thriller Unearthly Stranger (1964). If the actor playing Gideon Drew looks deucedly familiar, you may remember the Argentina-born Robin Hughes as The Twilight Zone's eponymous "Howling Man" but previously he had been on the side of the angels, providing the voice of Jesus Christ in Mervyn LeRoy's Quo Vadis (1951).

By Richard Harland Smith

Sources:

Disaster and Memory: Celebrity Culture and the Crisis of Hollywood Cinema by Wheeler Winston Dixon (Columbia University Press, 1999)

Keep Watching the Skies! American Science Fiction Movies of the Fifties - 21st Century Edition by Bill Warren (McFarland and Company, 2009)

William Reynolds interview by Tom Weaver, I Talked With a Zombie: Interviews with 23 Veterans of Horror and Sci-Fi Films and Television (McFarland and Company, 2008)

The Thing That Couldn't Die -

As far as living head movies go, The Thing That Couldn't Die (1958) possesses surprisingly long legs. Cranked out at Universal-International towards the end of the studio's run of atomic age horror and sci-fi films - post-Creature from the Black Lagoon (1954), post-Tarantula (1955), post-Monster on the Campus (1958) and long after the abdication of series frontmen Richard Carlson and John Agar, as U-I was divesting itself of its contract players and stable of writers - the feature was intended as fodder for drive-in double bills and second run cinemas. Made for a miserly $150,000, The Thing That Couldn't Die has never appeared on a legitimate VHS tape or DVD but remains a fan favorite, engendering warm memories and kind words from those who saw it originally via late night television or as a Saturday afternoon spookshow. The project originated with David Duncan (a writer with credits ranging from The Monster That Challenged the World and The Black Scorpion (both 1957) to Monster on the Campus and the American edit of Ishiro Honda's Rodan, 1956), who sold his original story "The Water Witch" to U-I and was retained to write the screenplay. Principal photography on The Water Witch (as the project was known early into production) began in late January 1958, on the Universal backlot, making use of a standing farmhouse set left over from the studio's Ma and Pa Kettle comedies. Tinkering with historical fact, The Thing That Couldn't Die spins a tale of the collision of science and superstition at the burial site of one Gideon Drew, "the foulest and wickedest man to ever set feet upon the earth." A member of privateer Sir Francis Drake's expedition to the Americas in the late 16th Century, Drew had been branded a Satanist (an allusion to Drake's real life execution of co-commander Thomas Doughty, whom he accused of witchcraft and executed on July 2, 1758) and beheaded at an unmarked spot on the California coastline, with head and body buried apart to curse the blighter with everlasting torment. The search for water in present day Southern California leads to the discovery of Drew's undying noggin and its deleterious effect on a handful of contemporary folk, among them a handsome young scientist (William Reynolds) and a beautiful girl (Carolyn Kearney) endowed with second sight. One of only two features helmed by short subject director Will Cowan, The Thing That Couldn't Die suffers from early inertia aggravated by Russell Metty's flat camerawork (Metty was jobbing here between Magnificent Obsession [1954] for Douglas Sirk and Touch of Evil [1958] for Orson Welles) as the protagonists discover the strong box buried in canyon country and attempt to make sense of its cautionary inscription ("If ye valuest thy immortal soul, open not this accursed chest..."). Already borrowing from The Mummy (1932), the script folds in John Steinbeck's Of Mice and Men when roughneck ranch hand (To Kill a Mockingbird's [1962] James Anderson) and his simpleton friend (Charles Horvath) appropriate the box for personal gain, only to have Horvath possessed by the living head, murder Anderson, and set off to bond Drew to his lower corporeality. The villain takes a long time to come together, the interim filled with additional possessions (when Horvath is gunned down, Andra Martin's artist's model assumes the dogsbody, porting Drew's head around in a hatbox) and a spooky flashback detailing Drew's execution, which plays like a dry run for the entombment of Barbara Steele in Mario Bava's Black Sunday (1960). The fright factor of The Thing That Couldn't Die is keyed to the viewer's anxiety as to where Gideon Drew's head might bob up next. George Méliés' The Triple Conjurer and the Living Head (1900) may have been the first film to make cinematic hay out of a head living without a body and Tod Browning's silent The Show (1927) and Melville Shyer's Poverty Row whodunit Murder in the Museum (1934) both presented the phenomenon as sideshow legerdemain. W. Lee Wilder's The Man Without a Body (1957) worked the surviving head of Nostradamus into its plot mechanics but The Thing That Couldn't Die seems to have inspired a proper subgenre, followed as it was by Bert I. Gordon's Tormented (1960), Joseph Green's The Brain That Wouldn't Die (1962), Chano Urueta's The Living Head (1963), David Bradley's Madman of Mandoras (aka, They Saved Hitler's Brain, 1963), and Herbert J. Leder's The Frozen Dead (1966), and pointing the way to the ne plus ultra of Stuart Gordon's Re-Animator (1985). The Thing That Couldn't Die also anticipates Disney's Blackbeard's Ghost (1968) and Jack Woods' back country spooker Equinox (1970), which in turn inspired Sam Raimi's The Evil Dead (1981). However undervalued they might have been at their home studio, the cast of The Thing That Couldn't Die was of interesting pedigree. Surviving a studio cut that had sent both Clint Eastwood and Burt Reynolds packing, William Reynolds had a brooding Johnny Depp quality that served him well in such programmers as Cult of the Cobra (1955) and Douglas Sirk's All That Heaven Allows (1955) and would earn him starring roles on a number of weekly TV series, most memorably ABC's long-running procedural The FBI (1965-1974). Playing the baby of the cast but older than most of her costars, Carolyn Kearney (in a role turned down by Jill St. John) enjoyed a fifteen year career, mostly in episodic television, guesting on such series as Alfred Hitchcock Presents, Route 66, and The Twilight Zone. Third-billed Jeffrey Stone had been the reference model for Prince Charming in Disney's Cinderella (1950) and provided the original story for the British sci-fi thriller Unearthly Stranger (1964). If the actor playing Gideon Drew looks deucedly familiar, you may remember the Argentina-born Robin Hughes as The Twilight Zone's eponymous "Howling Man" but previously he had been on the side of the angels, providing the voice of Jesus Christ in Mervyn LeRoy's Quo Vadis (1951). By Richard Harland Smith Sources: Disaster and Memory: Celebrity Culture and the Crisis of Hollywood Cinema by Wheeler Winston Dixon (Columbia University Press, 1999) Keep Watching the Skies! American Science Fiction Movies of the Fifties - 21st Century Edition by Bill Warren (McFarland and Company, 2009) William Reynolds interview by Tom Weaver, I Talked With a Zombie: Interviews with 23 Veterans of Horror and Sci-Fi Films and Television (McFarland and Company, 2008)

Quotes

Trivia

The opening credits reused the music from the opening credits of _This Island Earth (1954)_ .

Notes

The working title of this film was The Water Witch. As noted in a January 22, 1958 Hollywood Reporter news item, Universal purchased David Duncan's original screenplay on January 21, 1958. A 23 January Hollywood Reporter item stated that Jill St. John turned down the lead role in The Thing That Couldn't Die and subsequently had her contract suspended by Universal.