View source for Orgy of the Dead

==Production and casting==
''Orgy of the Dead'' is an example of a "[[nudie-cutie]]" film, a genre of narrative-based films featuring female nudity. Such films were an evolution of earlier films, which featured [[striptease]] performances and [[American burlesque|burlesque shows]]. These predecessors mostly depicted actual stage performances, sometimes attached to a [[frame story]].{{sfn|Craig|2009|pp=217–241}}

Apostolof was attracted to ''Orgy of the Dead'' because the film was "relatively very inexpensive" to produce and direct.<ref>{{cite book |last1=Senn |first1=Bryan |title=The Werewolf Filmography: 300+ Movies |date=2017 |publisher=[[McFarland (publisher)|McFarland]] |location=Jefferson, North Carolina|isbn=978-0786479108 |page=327 }}</ref>

The film's graveyard prologue is a recreation of the opening scene from Wood's then-unreleased 1958 film ''[[Night of the Ghouls]]''. Originally, Wood titled the film's script ''Night of the Ghouls'', as he did not expect the 1958 film to ever be released. The film also had a working title, ''Ghoulies''.<ref name="rausch">{{cite book |last1=Rausch |first1=Andrew J. |title=The Cinematic Misadventures of Ed Wood |last2=Pratt |first2=Charles E. |date=2015 |publisher=Bearmanor Media |isbn=978-1593938017 |location=Albany, Georgia}}</ref>

The action begins when a young couple, Bob (William Bates) and Shirley ([[sexploitation]] actress Pat Barrington, billed as Pat Barringer) survive a car crash only to find themselves tied to posts in a misty cemetery, where they are forced to watch dead spirits dance for the Emperor of the Night played by [[The Amazing Criswell|Criswell]] (best known for ''[[Plan 9 from Outer Space]]''). Criswell reprises his role from the earlier film.  Wood persuaded Apostolof to cast his friend Criswell in the film. His lines were written on cue cards, which he had difficulty reading because he wasn't wearing his glasses.<ref name=rausch/>

Ten [[striptease]] performances by topless dancers outfitted in various motifs comprise most of this movie. [[The Wolf Man (1941 film)|The Wolf Man]] (wearing a very obvious mask, with the actor's bare neck visible below the bottom of the mask) and [[The Mummy (1932 film)|the Mummy]] are also tossed in for [[comic relief]]. Barrington doubles as the blond Golden Girl (inspired by [[Shirley Eaton]] in ''[[Goldfinger (film)|Goldfinger]]''){{sfn|Craig|2009|pp=217–241}} while her red-headed "Shirley" character watches her perform. The dancing has been described as awkward and wooden, probably exacerbated by Apostolof firing the dance coordinator during the shooting of the film.<ref name=rausch/>

Criswell's [[undead]] consort, Black Ghoul, was allegedly written for [[Maila Nurmi]], a.k.a. Vampira, but was instead played by [[Fawn Silver]], who wore a black bouffant wig. The Black Ghoul appears to have "pasty white skin", with red fingernails and lipstick. She wears a black dress, implying the role of a funerary garment. Black, red, and white are the main colors associated with her.{{sfn|Craig|2009|pp=217–241}}

Wood served as writer, production manager, casting agent, and even held up cue cards on the film, although he did not direct. Apostolof paid Wood $400 for the script. Several gaffes typical for Wood-associated projects are present, such as [[day-for-night]] issues, poor integration of [[stock footage]], obviously fake props and absurd dialogue (for example, at one point, Criswell declares something to be "more than a fact").<ref name=rausch/>

Wood allegedly stole money from the film's budget to purchase alcohol for himself. Apostolof remarked later in interviews that Wood was drinking so heavily during the production, at times he was almost unconscious with his eyes rolled up in his head. Bob Caramico the cameraman, described Wood as just "living from day to day". He advised Wood's friend John Andrews, "If I were you, I wouldn't have anything to do with him."<ref>{{cite book|first=Rudolph|last=Grey|title=Nightmare of Ecstasy: The Life and Art of Edward D. Wood, Jr.|publisher=[[Feral House]]|location=Port Townsend, Washington|date=1992|page=197|ISBN=978-0-922915-24-8}}</ref> The incident caused a falling-out between Apostolof and Wood, and the two men would not collaborate again until 1972.<ref name=rausch/>

An article on the making of this film was published in the June 1998 issue of ''[[Femme Fatales (magazine)|Femme Fatales]]''.