Far too many people act surprised when they come across contemporary horror films that contain a comedic sensibility, as if the idea of blending humour and terror hasn’t been around since the Golden Age of Hollywood, being as pivotal to the development of both genres as any other element that is usually associated with them. There was actually a period in the 1940s where you could argue that horror comedies were at their absolute peak, with filmmakers going out of their way to combine two of most successful styles of filmmaking in the hopes of doubling their audience, with those who enjoy being frightened intermingling with those with a penchant for a few well-placed jokes. This led to quite a substantial body of works being produced in which we find the two blending together, often quite seamlessly (a byproduct of the fact that both horror and comedy are genres that draw on visceral, immediate emotions to be effective, just on different ends of the spectrum), and usually with terrific results. One of my personal favourite examples of this is One Body Too Many, a delightfully irreverent combination of Agatha Christie and The Marx Brothers, two names that we’d not normally consider in close proximity to each other, but which nonetheless prove to be the inspiration for this peculiar but brilliant film. The story follows a mild-mannered insurance salesman who ventures to a lavish estate to sell a policy to a notable member of the community. However, problems arise when he arrives to find his would-be mark deceased, and his home crawling with relatives, all of whom are insistent on getting a piece of his fortune. Suddenly, our protagonist is thrust into the position of a guardian of the body, tasked with ensuring its safety and that the late patriarch’s final wishes are granted, which proves to be quite a daunting – and perhaps even perilous – endeavour. Dark, satirical and brilliantly strange, One Body Too Many is a tremendous blend of two fascinating genres that are perfectly paired in one of the most delightfully off-the-wall films of the era, and one ripe for rediscovery.

The story that anchors One Body Too Many is defined by quite a simple narrative approach – a group of individuals gather with a common goal, but find themselves in ferocious opposition to one another and seemingly reach an impasse from which they cannot escape. Then the sudden arrival of a complete outsider throws everything into disarray, but gives the villains the chance to use him as a tool for their benefit, not accounting for the fact that their patsy is not as ignorant as they think, and through sheer luck and gumption, our protagonist defies the odds and emerges victorious. This is the premise of many similar films, and neither director Frank McDonald nor screenwriters Winston Miller and Maxwell Shane were all that interested in reinventing the genre. Instead, they sought out methods to tell this story in a manner that is easily understood. We’ve seemingly lost the art of making films in which a group of individuals gather in some stately manner, where they are confined while attempting to solve a mystery or reach some goal that can only be done throughout a very limited amount of time, and this film is one of the best examples of this warped chamber drama, with its eccentric perspective lending itself to a kind of comedy-of-manners that is about as elegant as it is complex – which is to say, not at all. Instead, what we have with One Body Too Many is a tremendously entertaining story of a feuding family and the unexpected hero who enters the fray and ensures that their sinister plotting are entirely unsuccessful, albeit where most of them occur through pure accident, which is where the film transitions into a much more offbeat comedy at certain points. Thematically, there isn’t much beneath the surface of this film, which is actually all part of the appeal, since there’s something quite comforting about a film that is willing to sacrifice ambition for the sake of being purely enjoyable, which is most certainly the case here.

Stylistically, One Body Too Many is also quite conventional for many horror films made at the time. To go back to a prior point, these stately manor thrillers that were popular during this period are incredibly distinct, using a clear visual style to create the illusion of a sprawling estate filled with never-ending corridors, endless rooms and treacherous surroundings. We are as entertained by the narrative as we are by the film’s efforts to turn this home into a character of its own, which is where the story is at its most inventive. Visually, the film is quite striking – the gothic aesthetic is prominent enough to be defining of the story, and we find that it mingles perfectly with the irreverent comedy, which is very important to the overall structure of the story. One Body Too Many exists at the intersection of horror and comedy, selecting elements from both in very creative ways. In terms of the comedy, the film oscillates between slapstick humour and more sharp satire, and it is possible to find a character taking a tumble in the exact moment that some genuinely witty wordplay is presented, and its this commitment to curating a kind of humour that is not one-dimensional that gives the film its unique approach. Regarding the more unsettling elements, in addition to taking place in a sprawling manor that contains several secrets, the film is encased in a sense of dread and unease, and there are some genuinely terrifying and tense moments scattered throughout. One of the centrepiece scenes finds the protagonist hiding in a coffin as part of a plan, only to be locked inside and submerged in a swimming pool, which is as horrifying a concept as any contemporary work, and twice as tense considering the stakes associated with this story. McDonald is not widely known as someone defined by his ability to create such layered works, and, indeed, One Body Too Many is still mostly quite straightforward, but something is beguiling about how this film operates that draws us in – and the visual component only makes the experience more rich and evocative, which all becomes part of its incredible appeal.

This film was produced quickly and cheaply, and thus any expectation of having major stars in the central roles was not likely, since this kind of rapidly-made genre film tended to employ those slightly off the beaten track, actors who were certainly gifted but rarely considered major box office draws, which gives One Body Too Many a sense of genuine B-movie charm. Jack Haley, who was rather popular as a comedian albeit not in the same way as some of his contemporaries, is the protagonist, a neurotic insurance salesman who proves himself to be a valiant, dashing hero through simply refusing to back down from quite a severe misjudgment, becoming the thorn in the side of some truly insidious fortune hunters. The rest of the cast is peppered with memorable parts – Bernard Nedell is the perfect example of the hero-to-villain transition with his part as the deceptive lawyer, while Jean Parker, Lyle Talbot, Fay Helm and Douglas Fowley all prove to be tremendous as the scheming family members who are plotting to take advantage of the deceased, rather than honouring his wishes. Both at the time and from a contemporary perspective, the main draw to this film would likely be Bela Lugosi, who has a very small supporting role as the family butler, but who is nonetheless fantastic. He may be known for playing these evil, monstrous characters in most works, but even in something quite small and rather harmless like this part, he’s still truly magnetic. One Body Too Many may not be driven by its cast, but the atmosphere that propels the story can only be effective if we are invested in the characters, both heroic and villainous, and the entire ensemble does very well to bring these parts to life in a manner that is both daring and genuinely hilarious, adding a lot of nuance to an already intriguing film.

One Body Too Many is ultimately a very shallow film in theory, and it doesn’t contain the nuance or interminable curiosity of more notable entries into the genre. However, this doesn’t preclude it from being incredibly entertaining, and in terms of both story and execution, the film is a tremendously enjoyable romp that is as hilarious as it is genuinely tense, laying the groundwork for developments within these genres that would continue to be refined over the years. It runs at the usual 75 minutes that was common for horror films at the time, so there is never a threat of it overstaying its welcome, instead moving at a rapid pace that facilitates the kind of off-the-wall dialogue that makes for something truly captivating and entertaining. It’s far from complex, but it has its charms that immediately elevate it and make it into something quite enjoyable, even at its most predictable. The conclusion is not always as strong as it should have been, and it does end on a more comedic note than a satisfying one, but there is still something so entrancing about how One Body Too Many explores its themes in a constructive and meaningful manner, creating a mercilessly captivating blend of comedy and terror, the likes of which we don’t find very often anymore. Simple but entertaining in all the ways that matter, this film is a delight and should be given a bigger platform as one of the more audacious entries into these genres at the time it was produced.