SUPERNATURAL. Paramount Pictures, 1933. Carole Lombard, Allan Dinehart, Vivienne Osborne, Randolph Scott, H. B. Warner. Director: Victor Halperin.

   Much like White Zombie, which I reviewed here, Supernatural, also directed by Victor Halperin, doesn’t make a whole lot of sense. There are so many loose strands that one loses count. Add on top of that some sequences that really don’t even fit very coherently into this narratively challenged movie.

   In much the same way as White Zombie, which I caught as part of the UCLA Festival of Restoration last year, Supernatural unfolds like a fairy tale, as if one is caught in a silly dream where plot takes a back seat to a simultaneously innocent and sinister atmosphere and mood.

   Indeed, it’s all rather good, albeit senseless fun.

   Featuring Carole Lombard and Randolph Scott as a couple who must face off against a con man, the disembodied spirit of a recently executed murderess, and possibly a murderer in their close circle, the film has so many subplots that ultimately go nowhere. With an omnipresent musical score than zips right along and a few ridiculously charming attempts at special effects, this pre-code horror (horror-comedy?) programmer still isn’t really what you’d call a solid work of filmmaking. But in spite of its numerous flaws, given the financial and technological restraints of the era, it’s nevertheless a far better product than you might initially think.