Peter
Dendle
The Zombie Movie Encyclopedia
The Zombie Movie Encyclopedia
PETER DENIM E
McFarllEid Si ConfVOJFi Inc-» Publishers /е$гл(и. Nt Jiff СвлцАвд i/nd Lark/rjtf
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Michael Kim. Susan Adams, Гот Arnold, Diane Timmons, Jim Shaw, Vida Vjugliano* Amy Baxtu^John Mayfield, Erik Siegel, Joe "Mr. Friendly" Cankwright* Buck Reynolds, Blake “Flip-per4 Cox, Mike Joyner, Joel Glenn, J.J. He**» Becca Storm-crawc, Bill Baxter IJk Scott Hand* LUa Brandenburg, Shelby Thacker^ Steve Heiner, Ertaeeto Delgado, Claudia Silvy, I j I апл Powdl, an J The Kentucky Theater—a place of initial ion-
The Toronto ghouls:
Lisa Fox.
Brian Catlos, Richard Rais, well, Mary Gathcnni* Davidson {the vase! ), Steve Giles, Dune Blair, Jettif* Wakefield, David Winter, Kim McGhee, Elizabeth Schoalcs, Carrie Hintz* Karin Peterson, Sarah Winters, and Mart Plamuntlun.
Giridhar Chukkap-illi (sorry about Cjfyo/’ffce WdJFhi^ DtW), Paul Feenstra sorry abimt all of thcrtiL and SanrhL
My brother Mark ha& always been supportive of my sundry schemes* and this was no exception. I al mi owe a great deal m my father Brian and my mother Catherine, Julie Dundic, Sylvain Cuuchai’ ricrc, Gildas Coucharriere, rf ^ramimfre.
f-ог in format inn, advice* research assistance, and general enctfur-agement I am indebted to David Wilke* Janet Laymun, Danice Nutter* Barbarn Flair, Torn Weaver, Derek Neit<j, Faith Shaffer of
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Zom hip J mice. cum, Jesse Mark Ces^rio, Liana Martin* Bill 1 It 11 fifth Michael Weldon, Ken Kish, and Jerry Oh linger
Spec Lil thunks to Bryan Senn, for proofreading and moral up-port, far generously nuking his private oalleerioo of mj Is availablt to me. and (can sitch a gih be measured?! lF>r Wdr <V which had impishly eluded me for mj many years.
James (J’Neill’s Terror on Tir//e* Michael Wv I don's Р^уеЬо(гоя!Г£ EflcyrfepftJitf af hbfi^ and Phil Hardy’s Лиги*» Encydapedta: Horror have been my constant еотрдлюп^ in this project, and rheir inrtuencc appear throughout. 1 have also gleaned much from Bryan Senn4 Drjfwfs uf Terror: Voodoo m the Cinertu and Tom Weaver’s Pot^rfy Horrors?
Contents
Acknowledgments vii Introduction 1
THE FILMS 17
Appendix A; Movies Listed by Year 217
Appendix ti: Foreign Movies by Country 222
Bibliography 225
.Index 231
MI tan'c bear ihosc empty, staring eyes!’
—WVjjit; Zowrtre
It’s hard to believe such monstrous things.
“Don’t bother me ... can't you see Г« a ba*-been?”
—uf lhe Zuittbies
HOh4 the whole thing has tnu ... con fused!"
— Ufh ft? Zt'mib [₽
Introduction
“Tile е*£1 that men dg Lives ahw ihtiii"
—/ji/ftfs Ододо
Tht zombie rema ни, I or the most parL unappreciated. Zombie nims are relcgiired го еЬе last page of every horror movie guide, bavcd from utter obsiurity only by the dubious ZoHfJr, the [hing from Vkrnks. There arc almost no serious studies of TV and muvir zombies, a*, there are for vampires m abundance. Nevertheless, the sheer volume of zombie movies, attests to tbeir enduring cult popularity <ind contemporary relevance. ТАд ZnntJijf Vf лч’г Euuycb^edki suggests something of this relevance/
This book is not only about movies but also about a peculiar motif of contemporary suburban WAesrefn mythology. I am not as interested in the quality of the films л*! in the attention and creativity they devote to their particular treatment ol the zombie. Technically correct movies may feature unimaginative nimhifs, while even some of the w<w sometimes have glimpses of genius, deliberate! or accidental-. i have sirti.pl1- cried ro hr an objective zombie ethologist, observing [hem in rheir natural habitat, and recording their nature and behavior.
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IL-sfory and Evolution
Early Caribbean travel literature uccasioffinlly mentioned voodixj rites jiiJ transmitted snippets of zombie Inrr, bui even as late as 1928 Folklorist Elsie Parsons mentioned nhar the “zombi" was virtually unknown outside t»f Haiti- William Seabrook catapulted them tn instant lame ¥ i(h hh 1929 travel book The Magic island, and after Kenneth Wcbb’N 1932 Mew York singe production Zombie the creature fell irrevocably under the auspices of the entertainment Indus-try, A month after rhe play opened„ rhe Halperin brothers began work or a lib л adaptation^ Wfcrte Zo^uhic, 4 nJ Jcspire a suit brought against them by Webb, rhe movie opened in the summer rd 1932.
Вс1л l.uguri W still riding an the wave of his ground-breaking performance in Dracula [1930h which had stunned audiences still not fully used to lalkics, and his presence in White Zombie graced that film with a reflected brilliance it might not have enjoyed had there been nn su^h film as Dracula first. The zombie didn’t immediately gain the popularity of rhe other undead monsters to spring up after Dracula—Frankenstein (1931) and Aljrnrmy (1932)—or of other fiends siik-b as The Invisible Man (1933) and the belated Wulf-
(1941). Hamer, while rhe occasional him maker risked a zombie-cctitered movie that generally Hupped, the creature was to some extern kepr current after its original fifteen years ог so of independent existence by its presence in vampire movie^ as the subordinate minions of the main vampire
Though derivative in some respecti* rhe zombie his nonetheless survived as ait independent mythological creature in its own right. Moreover, zombies havf organically given rise to a number of rec* ognizabk sub-species, such as Nazi zombies, underwater zombies., and zombie monks, * After allT their root* яге to be found in African and Afritan-Caribbk'an folklore, and so they ure one oE the few screen creatures in rhe Hollywood menagerie not of European origin. Zam-
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bits are, furthermore, the only creature to pa^ directly frem folklore to rhe screen, without first hating an established literary tradition.
The Early Film Zombie (1932-1952)
The him zombie of the '30s and ’40s is essentially a backdrop figure, an atmospheric derail added to supplement a more drama нс human villain, fhough continuously menacing and pmencially fierce» early zombies are seldom exploited fur violence. This is true to iheti-folkloric roots: as Wade Davis and Maya Deren make clear, the fear in H.titi is not of being harmed by a zoGiibir, hut of becoming one, Lat Lv Holly wood zombies are primarily objects of visual horror r^iher th.m genuine threats to the protagonists—the camera focuses on them for a moment while thundering]у eerie mu^ic plays. If they kill anyone of importance, ifs their own master, rhe vrlLnn, at the movie’s climax,
Larly film zombies are гпЬппс. There is grace in their unwavering pace and fluidity of motion. When they walk in a group their gait is perfectly synchronized, and if they tallc ar all» rc4 in a monotone. They exhibit no passions or drives, bearing little resemblance to the Increasingly animalistic zombies of reoenr decades. In fact, rhetr utter lack of concern for humans, or for anything at all, was what originally made zombies frightening. No zombie movie since the early decades has sustained the complete depersonalization that is the source of tear m Haitian folklore.
Early тит bit movies are most obviously concerned with, rhe appropriation of female bodies, and rhe annihilation of female rnmds, by male captors. I ime and again rhe villains learn that to possess rhe woman1» mindless body is unsatisfying. This relatively safc^dinost saccharine—rheme pales, next m rhe charged racial tensions that permeate these fiims ar a less explicit level» however, Thr earliest /от-Inr movie, kW/fc Zamf^e |P32p, draws, attention by its Title ro rhe fact that the hypnotized heroine is a white woman, and not one of the native dead who form Irgendrr's zombie army. Оголял (1933,1 is patently racist in its presentation of nattves as monsters, and continually plays on a symbolic idenri hear ion of black with ignorance nnd evil, and white with light and purity, These relatively simplistic racial dynamics arc redeemed by the powerful f Walked it-'tib a Zom-bie (IlMJlj which sustains a thoughtful juxtaposition of black and white imagery in a setting fraught with racial tension. The wooden
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figurehead from a slave ship erected tn front ol the plantation house Innmsnvcr the driTninanr European aristocracy that originally brought the native pppnlation's jiiLeMota to the island in shackles. More recently, movies such as .iujfjr HiW (1974} and Demoni J (1991) have diown a rekindled iwreresi tn the slave substratum of zombie folk» lore» f earn ring reanimated slave zombsc-s that still wear thar chains л nJ manacles
1 he !50s and ’60s:
Tension and Transition (1952-1966)
The '50s and early '60s represent a strange transitional time for rhe screen zombie, as though rhe concept were ready to move beyond ks stagnant. two-decade-uld paradigm, but experienced some con fusion in exactly which diriMiuu ю gm People stayed fascinated with the word long after they had tired of the original referent, and it's interesting to observe rhe range nt creatures and altered states of ссл-sdousiitss that passed under the term “zombie” in this period. Zo.m-bies of the Str*ro$phe?e (1952), for instance, insists on calling human-looking Martian invade™ “zombies," though they think, feel, talk, and plot to take over rhe earth. cfombtes of Mofj-Tju (1957) returns to the classic zombie conceptunliiatiitn, but curiouch resitu-atw the zombies under water, Ln	(1957) rhe term
refers, to the wholesome, middle-class, fun-loving protagonists, who arc simply under the effect of a hypnotizing drug. Ray Dennis Sieck-!crhs suspect J7?e incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies (1964) cheekily offers м '"zombies'1 rhe cm hint red and ferocious ex-lovers of Madame Estrelh, now crazed, hcrniicidd fiends horribly disfigured by acid jnd deranged by imprisonment (but who, for al! thatT have not stopped living and зге not zombies).. The Asim-Zomhtet (1968) peddles synthetic cybernetic andmids^ zombies. Mn< outrageous of all. perhaps, is Del ТеппеуЪ delightful TH Horror of Party Bearh (1963), which freely attaches the term “zombie" to its irradiatcdT humanoid, mutated fah antagonists. But even in this conceptual potpourri( certain coherent threads of exploration and development are Jisccrnihfe,
The '50s were preoccupied with individuality, the privacy of human Lonsciousnc^, and tht potential for depersanдlibation. Movies such as №» Kta» front Outer Space (1,9 531 and fmrisibte leaders I1 59} share a common anxiety in insisting that the revived dead, are
Introduction 5
лиг sentient in any way, and that clip ambulatury loved ones art nor really themselves (space aliens are the culprits in bath of those pic-runes:). The? л ш mated bodies mv kept radically distinct from any conception of mind or soul. 1 he issues of human dignity and family relations that inherently arise from images of the mindless, walking dead ate suppressed, though clearly rippling beneath the surlacc, in (Нея and other ostensibly safe and sanitized movies of the period. With. The l^ast Мл л о л Earth [1964), issues such as the disposal of bodies and the residual feelings for the deceased reach rhe surface, paving the way for the genuinely disturbing themes that emerge in ibe late '60s.
Though Halliwcll calk “The Incredible Dokter Markesan” (a 1962 episode of the T\ series Thriller hosted by Boris Karloff) ‘"possibly the last of the old-style zombies to emanate from Hollywood'’ |2+6), what it in fact represents is a taste of the new-style zumbie char would Lrtmr into its own increasingly in the s; the visibly rotting cadaver. This trend actually hmjI root in Mexico in advance of other co un frits, especially in such gems fis Rafael Bortill o’s ТЛс Asfec Mkwwy weriea (starting in 1957). England, decisively cstablislied the Convention, however, with Dortor BMnrf's Coffin (I960) and especially Plague of the Zombies (1966). Though deformed and disfigured villains, monstrous alien*, and radiated creatures arr commonplace throughout mtJtiiJii picture history, there was clearly luinc UHh-pcikcn taboo against portraying human cadavers as visibly decomposing, burly Hollywood features revive the dead often enough—even those many centuries dead—hut always test content with making them sullen and gaunt. The ’60s thus mark a transitional period in the evolution of the conception of human dignity, a transformation whose completion is perhaps signaled most decisively by rhe graveyard art in the opening scene of The Texas Cbainsaiu Massacre (1974). Throuch this period, screen zombies thus serve as key symbolic gauges for the trivial ization of humans as tndividuik and for the declining insistence that life is sacred.
The Stabilizing of the Contemporary Zombie Mythos (1 966-present)
The protean zombie concept crystallized into its currently rec fflgnizabk form with two movies in the late '60s, one in England and one in America: The Plague of the Znmbies (1966) and Night of ihe
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Глгп# Dc-zrd (15^68). H^gur established rhe zombie's decaying appearance and nasty iempLi\ while MgAl established its motives and limitations., In earher pre^n rations, rhe zombie was a derivative creature, always under die control of some other more intelligent being ivoodoo master, mad scientist, vampire). Romero liberated the zombie from rhiz shackles of a master, and invested his znmbics not with >i function (.я job or task such as zombies were standardly given by vuodoo priests), but rather a drive (eating Ht'ih). Tic conflated rhe “Zombie11 with the “ghoul/* a cannibal стеатите chat (despite a couple of ‘30s movies) had never really caught on by itself. Zombies thus become endowed with a highly physical, biological craving; they are n<i longer robotic machines» bur gluttonous organisms demanding representation iit the food chain. More than 60 movies follow Night in presenting zombies as cannibals.
Night uf the Lii[/£4g Deud\ must peculiar zombie innovation is rhe idea that zombies can be destroyed only by being ^hot m the head or by otherwise deactivating the brain core.’ This is consistent with rhe implied physical ism of rhe trilogy: however aberrant, rhe life force inhabiting the errant bodies is intrinsically connected with the physical brain processes. Day of the Dead (Ш5) provides more derail: the hrain is slowly rotting, and when the decomposition сопылпе* the brain core entirely, the- zombie will cease functioning. Two to three dozen movies follow Nigftr in making rhe head the zombis only Vulnerable part.
Whar stands out most about po$r-]960s zombie dnems. is not so much the violence or the horror as rhe gore. The gore in Nj^/я shocked Roger Eberr when he first saw rhe movie at a Saturday matinee, surrounded by horrified children: riThcy had wen horror before, but this was something else. I his whs ghouls earing people—you could actually see what they were earing.*7 Blood and guts were coining into their ««в in the '60s with Henchcil Gordon Lewis' free-for-all^ and Though the visceral element wie relatively subdued m the 70s, ho ror movies hi rhe BOs were often litrk more than two-dimensional slaughterhouses. This development particularly complcmcntcid the essentially corporeal and biological themes of the zombie myth os, in which the living organism is unceremoniously revealed to be a
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Intrnductirn 7
temporary and convenient accumulation of cell clusters, which Subsist я for u time and then deter writes when lhe individual cells ijli longer derive benefit horn the arrange men r A ma jior concern of zombie movies к rhe stripping away of surface urnament^ such that the insides arc our, in body no less than in mind - The skin it unable to confine rhe organs, just as the cerebral cortex is no longer capable of controlling the reptile brain.
The Golden Age (196B-1983)
With the Rotten paradi pm in place, zombie film entered its golden age, the classical period of zombie invasions. Night uf the f tiling Dead appeared in 1568 and slowly gained notoriety on the mid-nigh r movie circuit. More than til zombie movies appeared between 1969 arid 1977 in Spain, Mexico, Inly, England, and the States., rep-rcsenring the first post-K jmero wave. Horror favorites such as Peter Cushing, Christopher Ice, and Paul Noschy suddenly Found themselves pitted agjuaft zombies rather than the more conventional ’60s pionsttrs (c.g., the m и типе1» л nd vampires of Hammer or Anncui). This first wave is characterized by a wide va riety of zombie types and settings? rhe dream zomhies of A Vrrgm Anmug the Living Dead (1971)., the skeletal monks o± dr OsSonoS Tofflfrs of the B/fnrf Dead series (1971-751» the African-American slave zombies in the Ы1К-ploitiihon ЛМ/ (19741, the rcmptc-tontfol family members in Shanks (1974), and the click techno-zombies of Shoek Waves (1977). In general, these movies arc pensive and dusked in a delirious—almost narcotic—surrealism .The initial enthusiasm waned somewhat between 1975 and 1971, but the mid-*70s zomhii recession ended with an explosion in 1979 following Romi roS Dawn af the Dead. rhe decade that followed (1979 to 1989) boasted an average wikix zombie movies per year, or about one every rjghr weeks.
When zombie movies hrgan reappearing in 1979, however, they no longer exhibited the scattered range of topics rhat the initial wave did. The stories, aren't isolated yarns about a small group of people overcoming a localized monster attack, bur focus specifically on tbe larger theme of utter apocalypse» Zombies carry a powerful and unholy Lontigjun that jpreads with dizzying speed» and rhe undead threaten ntirhing less than glnh.il Armageddon. Italy secured a position at the ftirefront ar this time, quickly producing an abundance of apocalyptic zombie invasions such a5 Hartat Ground {1980k Ciey
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W j/itrfljtf Dftiii I19Kt))t Тйе Gdtes о/ He// 4 1980), and Night of the Zombies  1481К Rome re’s Drtu/н of f/?e D<W initiated this trend, just as Night minared rhe first wave, bur Lucio Juki's Zombie (1979)— made and released within a matter of months after Daro*?—is on rhe whole mutt representative of the second wave. Some notable contri-Ьшлопн came from France and Spann as well, such as Zombie Lake 11980) and Od$is of rjbe ЯсниЬде (1982), bur America’s ottrrinps at this rime were tew and unimpressive.
These Southern European movies are цепе rail у characterized by exotic settings, often a Tropical island inhabited by natives of ill-defined ethnicity. There is sometimes an unfortunate colonial brutal ity impliar in rhe endless scenes of European survivalists gunning down native Kombaes, but on rhe whole these movies concentrate thut energies precisely on dime aspects of zombie film that have proven rhe most aesthetically powerful; provocative settings, rhe restrained appearance and blocking of the zombies, a mounting sense of claustrophobia and helplessness, and the careful pacing and rhythm of the escalating apocalypse. Uncomplicated but engaging synthesizer scoring lends rhe best of these invasions a hypnotic, drram’like ambience. To my mind, it is perhaps these second-wave French, Spanish, and especially Italian movies—low -budget, badly acted, but resolutely sin* cere—that represent the apex of th.? Zombie film golden age. What zombie movies do well, these movies do best, pushing the themes inhrrcnT in rhe genre to their logical conclusions. They arc parables of entropy, presenting global devastation with maddening patience and reien t Ir^sncss. Zombie movies after this time are some rimes excellent, but rarely recapture the naive charm that makes these Medurer-rancan visions of apocalypse fascinating. When America at hst appropriated the genre in 1983 with TAzdfer and in 1985 with Ko Ля/wjfnr and Return of the Living D&uA rhe shoddy sets were replaced with slick, fully funded studios, the synthesizer scores were supplanted by rock and pop.. and the sincerity gave way to camp.
The Mid-’SQi Spoof Cycle
The final crossover from c и It to mainstream popularity came with Michael Jackson1?. Thriller video (1983Following that point, zombi e invasion motifs were familiar enough to allow for the zombie spoof cycle. The very rides suggest a detached, tongue-in-cheek attitude: Bfoodjwtars from Outer Space (1984), Hard Rod- ZomB/cs
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11^4), i R'./j J TiTPWff Zombie Ц9Я6), Ret/irrcfc Zambia ЦЭД7), and Chopper Cbicki in Znmbietoirn (№9). From low-budget backyard movies ro professional productions, the interest m the mid- to Late-‘HOs v. ai m applying rhe accepted body of zombie Lore to unique and bizarre situations, or occasionally in expanding rhe mythology itself in light-hearted ways. Thus, whereas in NqpH there's only a remote hint that the ghouls feast on поп-human flesh (one woman zombie picks a bug from a tree and cats it|T the spoof cycle picks up rhe bill and runs with it: a zombie ears a lamb in the bucolic Efood-Mtdbn from Outer Sfr.Jt-e, anuthcr cats a pig in the equally rustic Red-jjclA Zambia one zombi tied dwarf eats a live cow and an эд her eats himself (!) in Hard Roek Zambiett and the undead ravage an entire per store filled with poodles and cute furry animals in ДсГигч1 rtf the Living Dead Part II (I^K?),
The year 19Й5 was a capital one for zombies. Romero completed his trilogy with rhe excellent Day о/ the Dead. but his slower, more cuiiEcmphruc brand of horror was. no kinder in fashion, and Ddy couldrFir hope tor spark off a rh ird zombie wave as Night л nd fJjicvt had done. Instead, two other movies of the same yeic, Re-^/rjuidfor and Return r>/ the Living Dead. moved to the tore by satisfying mid '80s horror expectations such as high-impact gore, frequent shocks, memorable one-liners, and above all, a sense that none ot it should bf taken ton seriously.
о/ the Living Dead in particular exerted a. tremendous influence <in the general stock of zombie lore. Ren л л is the obvious inspiration, tor instance, behind the zuitibii’ conceptualization in the Itchy Kitchen i&ng “Corpse Rock* (l^fi.i), rhe third SpwpfonJ Hil-I и ween special (1992), and Lhc first-season South Park Hal lu weefl episode (1997). Most importantly, whereas Romero’s zombies only ear the fiesli of victims in a general way, the zombies of Return specifically eat rhe brains. 1 he undead don't view rhe living simply as undifferentiated meat samples, but &p*c<afically rajqjet the intellectual cenrer itself. I'hiis the zombies Crave the consciousness (metonymical ly literalized as the brain) that they sn sorely lack.
The spoof cycle ran its course quickly, but the popularity of the lunibie—particularly the zombie in v.i$inn—weathered the comic sidi?-track. By the late T8-0s there was a notable tendency tc incorporate rhe accepted zombie motifs into larger productions whose main concur n isn't rhe zombie or zombie invasion itself- I hui the zombie iriva-sion becomes a son ot detachable Subplot^ kept hoveruiR on the
10 Introduction
periphery throughout muse of [he film bur only coming to the forefront at rhe di max (Cxrrse uf the Hlue Lights* Th* Vineyard, The Dead Pti). Throughout the spoof суг!е5 however, the zombies are generally presented as serious» even when the rest о I the movie is tongue-in-cheek. Zombies arc, understandably, the ideal “‘straight men.*
There were few major ‘sn.rdio attempts alter the mid^'^Os to center an entire movie around a zombie invasion. Peter Jackson4 Dead Afive (1992) is one successful venture, hut this ^plattcrpnnk epic is quite far in spirit from the subdued and shadowy tropical chases of the zombie invasion golden age. The zombie romantic-comedy—an unlikely combination, one would think—proved one of the тоге cndumig off-.чhoots in the late 'SOs and early '90s |Deadly Friend, i Ш j	Zombie, My Zr»nrbi> / wr. My Boyfriend's Hack,
Return of the Lu ing Dead Pari Ш).
I oca I filmmakers, however, took up the zombie invasion with a vengeance in rhe early '90s» which saw rhe appearance oi a number of по-budget apocalypses (such as rhe dtrecr-to-video releases from Iroma, Suburban Tempe, and Trust inns Productit>n$}T many only videegrapned. Though these are sometimes clever and attest to the zombte's enduring cult popularity, they have little to offer the broader movie-watching public. At the time of this w riting, a movie is in production based on the video game	£W, Rob Cohen is nego-
tiating a remake ul / with a Z.ombte with Dimension Films,, and Tndd Sheers is still grinding out his assembly line home-movie zombie invasions m Kansas City, Missouri.
Significance
Zombies are an unashamed mockery of humankind’s most universally cherished ideal life after de .th.
By way of comparison, consider Dracula: a being of supernormal intelligence and pathos whose complicated psychological gears embody confiids between aniiirilistic impulses on the one hand (thirst for blood, repressed sexual cravings, etc.}» and on the other, an aristocratic bi cedmg and politeness associated with only the most polished of literature^ great villains. The vampire b dashing, smoothcompkxiDncd, sexy, and erudite with centuries of selective reading. Painfully self-reflective nt the tragedy ot his condition, he is poised ac the thresh-old between an id and a superego, both of exaggerated proportions.
Inlrcdu Lt юл 11
The zombie—rhe raggL-J, unkempt., rotting corpse sorely licking in psychological machinery an J social presentabihty—is the amithe-til of cliis aristccraric figure. Domes ncilly set vampire movies (that is* those not set in exotic foreign forests or Eastern European villages) are usually urlxin-cosmop-o Lirin efforts* taking pl ice in high-profile centers such as Los. Angeles or New York Domestically set zombie movies, by contrast, arc from rhe heartland; Louisiana (Вдоеядо of the ZomMrs, Tht Bigyu/jJl; Louisville^ Kentucky (ReJwmo/ the Living Dead}; \ к roti* Ohm (TAt? Dead Next Dtxjrl; hack woods Alabama (Thi 5ирегаигыгй7л| and Tennessee (Tojcjc ZomHmta rural Pennsylvania (Nijjfet, Dinmi and Maryland (Ked/iecfe ZomfMesli Florida sw jjiipbnds (D^y* Alim Dead); -md Kansas City* Missouri (TV?ij Chilling., Zombie biaodbathh Zombies are blue-collar undead, banding togs thet in 1ооьс mobs and endeavoring to compensate in sbeer numbers for what they lack m individual speed or strategy. From rhe plantation and mine slaves in Were Z.umbie (WS2) and Гйе Plague о/ tfa Zombies (1966) to the shopping mall slaves of declining Western civilization in Daww (l974h Sdtmhies embody the ultimate Marxist working-class society. Finally* with Shatter Dead (19^3), even ihc zombie's role as the oppressed worker is dcrornanricizcdi here zombies arc simply another disenfranchised and marginalized sector of rhe pnptihrifjn, threatening co unionize Hut mostly iusr panhandling.
Pretty much everyone has cnnuiiented th л Г Night of the Living Dead documents middle4;lass America's eating of itself and the death of the nuclear family, and that Datum of the Dead cm poses the vacu-ousness of contemporary consumer society. Captm sees N^fsapuc alj pticisni as tomic-agr disquietude, and comperes the “psychic numbing” associated with rhe victims of Hiroshima with screen por-trayah of zombie (105). Higashi discusses such recurring motifs as military organization, media involvement, and particular images such as helicopters in the context of the Viemam Wai (ПЯ-86), while Ho her man and Rosenbaum iho point out other hie '60s social con terns such as racial tension in NtfAf (112). Ed I о wry and Louis Black MiC in Л ‘7Qs parable of environmental de ter io ration and the “posrindustriail catastrophe" (17)+ and Heard reads zombie hl ms tn ter ms of Ford-сга labor economics and the nbsolcseence of the American worker t Wj- In an age of increasing lift expectancy and decreasing employment possibilities* the fear of aging indefinitely and parables of overpopulation resound throughout zombie movies Berard 27, Boss 15-20). Finally* Linda Badky reads films such as
12 Inrroducw »r»
Re-Animator 3$ explorations of late twentieth-century biomedical and health care worries suth ал rhe cummcjditizaciart uf the human body, the кан mental ion of the individual into organs and body parts, □ nd other forbidding issues raised by medical .and generic techno]rrgy^ "hut as thr language and iconography revealed most dramatically in [hr HSOs, the horror and the real monster had become the body itself" (73-4).
Underlying these cultural strata, deeper* more timeless tensions between the living and the dead simmer as well. Throughout the world, pre-mndrm societies exhibit an acute anxiety of rhe dead, envisioned variously as spirit sT phost^ or physical revenants. (Sir James, Frazer's Fear vf the Dead is still the matt comprehensive overview.) The primordial fear iif rhe dead even form» a pan of certain pre-modem initiation nrts, as in the following account from Fiji:
Beginning with puberty, buys were taken ac night Lu an area where [h< aduli men had placed a group uf bloody supposedly dead and derapng bodies covered with intesnnes. The buys were forced Го trawl rhrOLigh the 4,dlead’T bodies, which suddenly ‘“came to life.'* Buys who showed fear weir denied manhood | Milker, cited in Zill-uiann and Gibson. 2 J].
In zombie movies since Romero, these fears are compounded! with archetypal fears of contagion and of uncleanness in the abstract, plague anxiety comes in many forms, from the classical and biblical revulsion against leprosy tn rhe modern media fascination with invasive-A streptococcus, the “flesh eating disease"; screen zombies find themselves connected with a range of ailments including bubonic plague [Terror Creatures from the Crave)* c&nctr (After Death). AIDS {Zomhie '9(J: Extreme Pestilettee), and even teen acne (J U'jj j frewjjj1 Zomfrie, Л1у Boy/nefld'j Jtadt). This pestilence anxiety is almost always non-specific, however, because ultimately it isn’t leprosy or plague or AIDS, but death itself that is rhe disease. Death is a comma m the midst of a cursed existence, gone from mediocre co horrible, rar her than a period ат rhe end of it.
Zombies arc people reduced to the la west common denominator. t he zombie is simply rhe hulk, rhe rude stuff of generic humanity, rhe bare canvas; passion, art, and intellect are by mi plication reduced ro mere ornament. There is an existential component inherently built into the genre if it's read with even a minimum of allegory The iambic just is.
fntT»du£ti<Mi 1'1
Definition t Scopet and Principles of Selection
The su hsta nriJi t ewe г lip among rhe various movie monsters precludes the possibility of an all-cnco in passing definition of a zombie, t he soulless, renin [mated corpse under rhe control of a voodoo mtis-ter from Caribbean lore serves. a* a useful itarririg point, since that's where the zombie him finds its own beginning VFfrjic Zombie* 1932К buc cumpliC2iions arise quickly; how much aoul or personality й per* missible in the resurrected person? What if there is no voodoo mas.-rcr, as in (he Romero trilogy? Once the zombie becomes a familiar screen mon iter with certain fixed features, what ire we to make of similar movies, whose creatitres exhibit most of the familiar traits, but аге K* actually reanimated corpses? The irr»di4№d or diseased hordes ot Crnnenbrrg4 Rdfrid (1977), Rollin's D?f Grape; о/ Dwti (WTfji, Eberheardt's of ibe Comet  1984 , and others fall within the broader zombie genre, in a loose sense, but this book will limit coverage io movies in which the creatures are actually revived corpses^ or arc explicitly referred to as zombies.
The zombie first appeared ян the revived corpse of vodow religion, and most of the early sombie films sustain a religious connection Л Bui screen zombies have evolved ro something quire ditrerenr in their long and varied history, and have largely left their voodoo origins behind. In the lare '60s and early VOs, The PLirmc of the Zo?w-fijti (196fi) aad of the Living D&itl (19681 redefined th elf appearance л nd behavior entirely. I he zombie today is я limping, shambling, decaying ghoul in Mtndh of human flesh, utterly distinct from the robotic, deadpan jomhte of early voodoo I hollers. I he basic definition of a revived согрье with diminished mental Liculocs generally holds true through this evolution, though, and unites xombio from, before the late-’SOs metamorphosis with those after it,
Due co rhe volume of material, I have nor attempted to cover
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H In [rodutfHHi
'"‘zombie*’ in the broader colloquial sense of * will less, obedient person/’ e,g.t a living person simply hypnotized or possessed (unless the film ude specifically identifies such persons as zombies). Though an imports nr thread of zombie genealogy, such classics as Village of the Damned (1 96(1 )„ 2ntj<jJtr$ from Mar& (1953), an d /адлол of the Body Snatchers (19561 are beyond rhe scope of rhe present work, which considers the physical death and (partial) rcKurrectioii of rhe body integral to rhe core definition.
Resurrected bodies that retain all previous personality and mental ability don't constitute zombies. Zombies are dim-witred, with ideally no more Than rhe rhiimrit shred of continuity connecting the present animating principle (mind, soul, ere.) with the former Ecclesiastes 9:5 «rates, "The dead know not anything." Ghost movies that deny the gruss corporeality of the corpse aren't zombie movies, either Though the manned soldiers of the early French /’Десилв/ (1938) provide excellent zombie analogues, for example, the superimposed photography of the hordes of risen dead doesn't really elicit the same tensions as resurrected, physical hulks. In ghost movies, editing roum nonsense is often paraded as psychological horror, the facile camera trickery and disrupted narrative logic representing internal fragmentation. Zombie movies, in contrast, generally adhere to strict narrative logic of time and space; if the zombie is to get from point A to B, the story must provide for the physical traversing of points in between.
Mummies are dose cousins; in fact, a mummy is arguably only a zombie with bandages. Mexican mummies, which never had bandages ro begin with, form obvious parallels with the Hollywood zombie, But the Egyptian mummy, noble and timeless, is altogether different. Il is supported by, and vestigially defends the hieratic civilization or the ancient Egyptians, whose stately gods still empower the mummy, and whose long-dead priests have woven into the sarcophagus iheir laments and curses. Nothing could be more antithetical to the anonymous zombie, chosen at random From working-class corpses for menial ends by two-bu witch doctors.
I hi$ book does nor cover demon-zombies, such as those of Ej j7 Dead (1982), Dtwum (1985), or Остдо WW (1989), smcc they exhibit enhanced rather than impaired mental faculties, and enjoy a wide range <il other powers incommensurate with common notions of a zombie. Demons are autonomous spiritual entities from other planes or worlds, л clear distinction being maintained between them
IntrtMlucunn IS
and the bodies they inhabit. If rhe zombie suffers from a lack of soul or spirit, the demon suffers from an overabundance.
Zombies share certain features with robots and androids—«lew and relentless pursuit, for instance, and immunity from many weapons. Although both zombies and robots evoke the terror of a mindless foe who shows no regard for self-preservation,, pre-cyber-ncrit mechanical fees, such as 1950s robots arc biologically antiseptic; they done dangle before us the rotten carcasses that we inhabit, and don't allow for the exploration nf peded-away levels of body ris-sue alongside the peeled-away levels of intellect and consciousness. The obstinate corporealjty of zombies audaciously flaunts what Joseph Campbell has called *the fullness of that pushing ... mal-adorous^, carnivorous, lecherous fever which is the very nature of the organic cell" (121).
I have Tried to cover full-length zombie feature films as exhaustively as possible, as well as TV movies and (when available) significant episodes of TV serials. Muvies explicitly advertising ‘‘zombies7' in the original title, alternate title, or in an English-language release title are also included, even when the term is applied with the most wanton license and the him has nothing to do with actual zombies, so that the work can serve effectively as a reference tool. The history of rhe term M zombie” and the evolution of its meaning through different generations is itself telling and worthy of doc uni сига tion.
As the zombie mania trickled down into backyard film operations m the late 'BOs and early '90s, a profusion of very low-budget films appeared, including vidctjgrjplied features and him school projects, many of which are virtually (and mercifully) unobtainable. This book includes those thiil have come to my attention; doubt less there are others.
The list of rides is compiled from horror movie guide hooks, articles and reviews, video catalogues, on-line databases and fan sites^, and consultation with other zombie hounds. Only movies that I have been able to track down and see ate included, to ensure that a consistent, personal reading tut the genre as a whole emerges. Literal English translations of titles are provided for foreign movies that have never bee® dubbed or subtitled into English; otherwise movies arc listed by their most commonly recognized Inghih language title. (An exception is Ед Ctt^? Amje Zuzuivcs., to render this title in English is to lose the obvious reference to the popular cross-dressing corned у Ед Сд#е Amjc FoHes.)

The Films
A commf apocalypse see A A/wong the Living Dead
Absurd see Zombie 6:-Monsteг Нмя#ег
After Death
Dir. Chudio Нгэдшме. Sto ry and Screenplitr: RuS^elh Druddi< Ctf5£ Chuck Pcjhm, Candice Ddv, Aka McBride, Jim G*inc^ Don Wikrni, Adrianne Joseph. Flora Film {Italy), IW.
Long after rhe main flood of Italian zombie movies had dissipated in the early 'Я0з+ Flora Film continued to crank them nuuThis Philippines-shot outing presents at-maspheric 70 mbits in authentic jungk settlings., supported by up-beat synthesizer scoring and a high body count of both zombirk and humans. Hun-seekers marooned nn л desert island confront the living-dead remnants of iht islands pop-u I anon, which W.1S long, ago wiped Out by ar» epidemic. Barricading themselves in the old hospital the group dwindles in riumlsew as bit-tea characters jofn the swelling undead army. Ar last, Jenny (Daly), one of the two survivors, discovers through юпк subpccr "Book of the Dead" that she can close rhe gate of hel l by relinquishing her own scuL The mournful cries of wailing souls echo throughout the jangle, hut inept choreography о I close-com bar scenes and intofi$isrenT treatment erf zombies undercut the elegant atmosphere.
The dead natives whu crawrl from their shallow graves to feast on the flesh of the living all weir black cloaks with hnndss which give them an ominous homogeneity of appearance, almost like an order of monks. They have the standard йме splotchy skin» drip with the requisite gore, and follow the usual specs (only deanimated by destroy-
17
1R ТАч* A/irm Dead
ing rhe head, etch In certain scenes rhey’re slow as cold molasses r in fact, whenever certain ritual candles arc lit, they come to a stop alro-gtnher (until one enterprising zombie finally knocks the candle ruble over}. In other scenes, though, they leap and tumble stealthily, the black-cloak rd figures amounting (0 a ven table ninia army. Characters who are bitten and who rise is undead retain more human characteristics than the inscrutable zombie native^ Thus they wield guns and speak» even taunting their former friends: “Don’t you want to be like us?" The zombie “Ruh" delighted audiences in 1985 by lethargically wielding a revolver tn Day о/ Drad, bur he wouldn’t last a round against these character zombies packing M-16 assault rifles.
Alternate title: Zowifs/r 4; After Death.
L’Aldtla see The Beyond
The Alien Dead
Dir Fred Oltn Ray. Prod,- Chuck Sumner, Fred Olen Ray. Scrempjhy; Fred Olen Ray, Manin Ahn Michnhs, Cdtf: Buster Crabbe, Raymond Rohms, I inda Irwis, Mike Bnnjvia, George Kristy, Dermis Underwood, I* Нем Con-rcilo. Firebird Pictures, 198(1.
Fred Olen Ray somehow cajiokd doddering Buster Crabbe ithe original Flash Gordon) in his declining years to appear in this back-woods Florida fiasco. A sparkling, flaming red meteorite lands in the swamps, destroying a houseboat and. transforming the pa rum onboard into zombies. Uninteresting reporter Tom (Roberts) teams up with dull local woman Shaven (Lewis) to uncover the mystery behind rhe recent murders and disappearances plaguing the .irea, which cranky Sheriff Kowalski (Crabbe) attributes to “gators." A slightly off-beat and promising opening scene soon gives way to serious tedium; every one runs around poindnsly, periodically falling prey to the aquatic swamp zombies. I he sound and film quality nt the low-budget affair may be excusable» bur rhe acting, make-up, and affected Southern accents are ordeals. The most advanced gore effect is a small trickle of blond that pours from the victims’ mouths.
Some <1Г the zombies are only pale-faced, dark-eyed figures, while others have completely oozing» blackened, mutated heads. But rhur clothes are suspiciously Jimp, and some parade around disingenuously in bleached white shirts and shorts that look pressed (anJ look for rhe zombie with perfect hair ,ind ins shirt neatly tucked into his pants), Ihry tend to travel tn packs» usually walking with slow» studied step».
The Asinj-Zmnhies 19
They re clearly supposed t<j he rearing and hinng at rhetr victims, hm manifestly rhe actors are only pushing and nudging their fe I low acrors half-heartedly. There's only one faint hint of intelligences in a tout de force of cooperative strategy And communication, one zombie who spots a victim points him Put to his chums.
Mo$t remarkably, these zombies are fully .amphibious: they nav-igate under w ater and drag swimmers down, and leap out of the water to snag people trom boats. Somewhat reminiscent of Shock Wares, there’s a scent in which two of them sfowly raise thtar he^ds above the water's surface in sync, and then lower rhr m again nr ihe same □ me, Though there дгеп’г any underwater combat scenes, ihcre arc numerous glimpses of J he fiends, prowling a round underwater, trading some sure of swamp-weed. Coming at rhe height of the zombie invasion craze, these tepid zombies are a decidedly ^ad coninhutiun to rhe genre. You and a few friends could probably pur together something better than this sorry lol in, say, the next few hours.
Al tern зге title*: h h-li from the Sjty, Swamp of the Bht/d Leeches.
Almost Пинии see Shock War₽j
Amoffg the living Dead sec A Vij^ih Among theiiving D*nJ Attii You'll I ive in Terror! The Beyond see I he Beyond Anthrnpophagus H see Zombie Gt Monster Hunter
Apticdhpsts cenibal see Night of the Zombies
The Astro-Zombies
Oir- Ted V. Mikels. РгоЖ Ted V. Mikels. SerwNjMby: Ted Miltcbi, Way lie Rogers, Jahn Csrradnn’, Wendell Corey, Tom Pace, Joan Гаккк. Tur* Satan*. Raf.K'1 Campos, J пи ph Hoover, Victor bay,. William Bagdad, Vincent Barbi. RAM l.rd., 1968.
This action lacki d. goulash nf horror, science-fictionf and spy him elements revolves about three factions: mad scientist DeMarco |( лг-Г idine) with his Stooped assistant, a foreign яру team (Satina. Campos! out obtain his discovery, and d bunch of morons frutn the СIA (Corey, Pice] trying tn мпр them. What UeMirco has discovered is a method of wiping the hamat! brain dear of all erwtkms., leaving л puce rtcalcul,inng machine,” The deceased cells arc reactivated dec-rtonically, and thought waves are transmitted by reunite— thus creating the perfectly obedient servant. The *kin and шокг viral organs are
2(1 Tl?e
also replaced by synthetic parts for greater endurance and performance. DeMarco has already burlr a prototype, and sends the creature our un forays tu mine for fresh organs in the bodies of hapless victims. After much running around, everybody kills everybody else in the climactic con tron rat ion, except for the CIA ^lods who survive and close vith a Captain kirk-hkc кгпюп to theetfecr that DeMarco couldn’t emi rely quench die basic dement of human life: the cniottuiii. Mikels churned out flimsy movies hire this for next to nothing, mostly releasing them in the deep South to fill our triple hills. Ar least executive producer :mj co-writer Wayne Rogers would goon to better things, as Trapper on Л1 *A *$*H.
The mostly-аул the tic Astra-mtn are equipped with skull-face masks, for no apparent reason other than shock value. I hr only working prototype is accompanied on-screen by .a heavy heart beat sound» and lurks in dark corners waiting for victims He strangles one victim, but his preferred M.O. is tn hack repeatedly with whatever sharp object is at hind. He is speedy, mentally alert, and resourceful. Particularly, when the solar power storage-cell .is torn from his forehead, jml hr requires light to avoid running out of power, he quickly grabs a flashlight and runs back co the scientist’s laboratory, holding it over the receptor-spot on his forehead the entire rime. It's hard to шке a mutant cybernetic robot-fiend seriously when he runs .irnund holding j .flashlight to 11 is forehead. The Aitro-zombie is impervious tn bullets, however, and doesn’t even bleed, thanks to .1 special instantly-coagulating synthetic hloud replacement DeMarco has also created (he seems to have gone to the .4^me eclectic educational institution as the Professor frnm Gtf/jgsn'j Ar the end. he lose.4 control and guts oh ihr predictable killing rampage,, uni!I DeMarco deactivates him from a central control unit. A sccoitd Astru-man is activated at rhe last minute, just long enough to kill a villain and Accidentally electrocute himself. Mad scientists will presumably have an easier [гтс raking, over the world when they J njll),1 develop robots or zom-bieb that, at the very least, refrain from killing them.
Alternate titleT Speer Zowbte$.
f	dr fas miterfos sat o/os see Rerun; of rfo Ей/
The A/ownc Впил see JWonjfrosrfy
Aftacfc 0/ the Bitttd Dead see Rm™ of the Evil Dead
Attack of the Eyefas JW see Rerurej of the Evil Dftrd
BtftJerfy Hills	21
Btiron В loud
IO'rig. Gli. vrrori del wsieilu di Norimbrrgai. Dm Mjriu Bjva. Prod: Alfred Leone. Story tfuJ Srnerfl^iuy; Vincent Fnrre. Qi!; Joseph Cutten., tike Som-ггкг, Massimo Girocti, Rada KassimoVi, Antonin C nntafara, Hurni R.ihn, \f.in Collins, Dif [сг Trebler. Euro Intcniirinn^il Ftlmi/Dkrer Gcisskr/ljrcnie Inter-na titiCM I Ptuducltun (Italy, Vtcst German у li 1972.
Peter (Cantaforaj [fiveIs сю Austria co visit his ancient ancestral castle, and л ccidenc.il I у resurrects cruel Baron von Kleist (Cotten). Art restorer Ere (Sommer) raises the corpses of the Baton's blundy+ mutilated torture victims, who crowd around him ac the climax and subject him to his пил instruments of pain. They’re onfy on-screen for a minute or two, and Mario Hava—the grandfat her of Julian horror— doi-sirt quire get in on the Ira han zombie racket.
AJternate titles: The В Joo J	Chamber of Tortures., The
Thirst of Baron Blood, The Torture Chamber of Baron Bhnd,
Beverly Hills Bodysnatchers
Пгг: Jnn Wostow. frod; PK- Sjmnndfi, Jfi. Jrm Mn&tow. .£ггаткр/лу: ГК Simonds, Jr. S Гогу: Jon Mnstow, EK. Simonds, Jr. G?Jfi Vic Tay back, Frank Garshin, Art Mecranu, Rodney Eastman, Warren Seiko, Seth Jaffe. Busybody PrrjdiKTL-uiis, 1989.
Out-of-work surfer brab Vincent (Seiko) and Freddie JLasrmanli Giin’i pay their debts, to their “Unde” Vito (Меггятю), а mafioaa, forces rhtin to work at the Eternal Palms Mortuary. (No contrived premise here.) There they ceim up with funeral home directors Lnu (Taybickj and Dot {Gorshin), who яге secretly perfecting an enzyme that reactivates neurotransniission in deceased tissue. They have only hud partial success so iar, bringing back corpses as mindless Mrtiplc-rorts. Things turn zany when they tin wittingly bring back choleric mafia kingpin Don Carlo (Jaffe and when Doc him wlf die* and comes back at half-capacity. When Doc finally perfects the serum that restores, per fret mental Faculties, the entire cast becomes rich and famous for conquering death, and they resurrect Elvis and Napoleon to hangout with them лг the pool. Slick prodtictioe values don'r mw rhe movie from its mediocre script and assembly line plor-iwisist though Gent ration X-m may ger a kick out nt seeing Mel from “Alice” (Vie Tayback) look stressed and yell at people one last time, even sans spatula.
22 77w
Before Dw perfects his scrum, tht rcanmiared corpses exhibit onlj the most primitive motor skills, sod next to no signs of intelligence. The simple coordin it hm and aptitude rests they are given reveal some promise— rhey can ar least walk a treadmill and place л peg in the correctly shaped hole (well, after trying to cat it}. Though docile and listless, they occasionally show some curiosity and object playas well: a certain zombie plays with his spaghetti like a one-year-old., for instance, and then tries to stick his knife in his nose. Ar least these isolated zombie gags provide д couple of goad moments, and it’s admittedly diverting to watch the half-revived zombie Doc try to mix chemicals and consult his notes with wildly unresponsive motor skills.
The Beyond
(Orig. ..Г. fu iwrar Miff terror*' £ЛгШз|. Dx*; Lucio Fulci. Prod: Fabrizio de Angelis. Vcwnpfay. Dardano Sacch&rri, Giorgio Marluzzo, Lucic Fulci. Story: Dardann Sacchetti. Gref г Knrhrnnt KbcColl, pa vid Warbeck, Sarah Keller, Antoine Spirit John, Veronica Lazat Fulvia Fdm Italy], 1981.
Fulci's third zombie foray (following Zomife and Gutw и/ a. dark and lyric atmosphere-piecc, is ihc most artistic, if not the most exciting, of Fu lei’s series, Liza (MacCol!) comes to New Orleans from New York to renovate an old hotel she has just inherited, but a plumber accidentally breaches the ancient gateway to the underworld on which the hotel is built. With the help of a supportive but skeptical doctor (Warbeck}, Liza struggles to cope with rhe zombies that pour from the ruptured portal to hell. At last the two wander u ^strategically into rhe cursed gateway themselves, and the closing scene finds them tentatively entering the bleak, grey wasteland to face (as the narrator explains] the sea. of darkness and all that may bf explored thereins With sharp cinematography, the film relies largely on sound, color, and com position rather than dialogue or plot, There arc numerous successful horror scenes, such as a little girl watching while acid pours on her dead mother s tact from a jar above (and then having to avoid the Frothy acidl-ftesh guop that subsequently spreads across the floor), and д paralyzed man watching helplessly and wide-eyed as his own Face is eaten by tarantulas. The narrative coherence is repeatedly distorted for surreal effect, but Fabio Fnzzr’s score, alternately nostalgic and grandiose, helps connect the disparate scenes and images into д unified, dream-like vision. Nonetheless, slow-paced and
о/	Hcuiw 23
heavily burdened with its recurring, poorly explained images, The Beyond suffocates under the weight of in own grandeur.
The zombies in the hotel behave differently from those in a nearby hospital. Very ancient and badly damaged,, rhe hotel zombies are corrupt in the extreme. They art mort like ghosta than zombies in their nt bu lousnesv and caprice, appearing only when a character is a font h and геtreating, ал. stcrujuhiy after а	Conscientiously
planned encounter» In one memorable scene, these zombies assume an unparalleled, sinister dignity when, they surround blind Emily (Keller), «raring nr her while she screams for mercy—not advancing or attacking, just staring.
The zombies in the hospital, by contrast, don't make mysterious entrances and exits, but are revoJuttly physical. Too recently dead to be decomposed, they mill about the whire^ sterile corridors in their hospital gowns with downcast expressions. They are painfully 5.1» w— in fact, often they don’t so much advance at sway gently hack and forth from foot to foot (rh- I'empLirs would he proud). Though the build-up is far more deliberate and polished than that of I ulci’s other zombie movies, on rhe whole he doesn't do much interesting with his zombies once he gets them on 'Screen. The hotel zombies are employed for a few elegant visual shots, while the hospital zombies are just there for target practice.
Alternate titles: And Yow 'll Live fo Terrnrf T/w ifeyowd!, l.uhJdsi, SeiwtM Doors tif Death.
Beyond the Living D«d see Return of the Zombies
Biohazard see Wkming Sigir
B/odb MJgfo H see Retvnge of the Zombies (1981)
RDrJb Zombies see Demtmi 3
Tbe Fl J1 ind Dead sec Tombs of the Blind Dead
The Blood Baron see HfooJ
B/tiwJeufrrs sec Toxfo Zombies
Blood feast of the Blind Dead see JVtgbf of the Heagwlb
Blood of Ghastly Horror
Din Al Adamson. Trod; Al Adambun. JcwHpJay: Diek TtJitou, Chris Мйг-rind. 5/ury: Al Adamstm, Samuel Shemifin, Cefcjolm Carradine, Kent Taylor
24 Л/мн/ of &hatffy Нотт
Tammy Kirk, Repina Carrol, Rrjy Morton, Тй-tey Robbing Arne Warda. Richard Smedley. ] kmjsphcrt/lndcpcadcnt-ljiternarton.il/TAL, 1971.
In 1969 AJjm.Hon reworked his own earlier film, l^rko-fl-Go-Gii (I965J, to create The Fiend ivfth the EUctromc Brant, and then in 19T1 reworked that tu produce this patchwork confusion. Both time» he L-xtra^ie-d isolated sequences, and shot new scenes around them involving different characters and story lines. The result is a brisk paced if scattered potpourri of hammy acting and beehive hair-dos The composite him even yields №n mad scientists. The first, Dr. Howard Vanird (Carmi inc, in distract! ng ty oversized r I asses-), implants an experimental device into thr brain of wounded Vietnam vet Joe Corey (MortonJ, turning him into a homicidal maniac. Th«b plot appears in kngthy flashback sequences (the mind reek to think that these are probably the nimt exciting кепеэ from rhe earlier ver-sionsh Now, rhe second mad scientist, Joe*s father Dr, Elton Corey (Taylor), attempts ru track down and kill those responsible for his son’s death, with the help of his disfigured zombie Akro (Smedley). Absolute ch a os. Good luck sorting it nil out. 1 he opening credit» announce char the feature is presented in enigmatic “Chitl-O-Rama,”
Dr. Corey, who supposedly I earned the secrets of voodoo m the Caribbean, turns two people into zombies. Ak.ro is meant to he a fairly gruesome zombie (it we overlook rhe sketchy make-up effects)—cadav ernus, splotchy, and sore*covcred—but this carfr be from decomposi-fi-on.. It s an instantaneous effect of Corey’s zombie-making. porin-n, since Susan Vanned (Carrol), upon being given rhe potion* becomes similarly splotchy and zombie-like in only a matter of seconds. A sc iff-1 imbed monster who strangles people, Ak.ro obeys Dr. Corry’s every command—at least until Corey unwisely drops in conversation his plan to cutoff Akro’s life-sustainingfluid. Akro breaks from hi- locked cell and strangles the doctor. He then collapses to the floor, pathetically trying to lick up the last few drops of rhe spilled vitality potum from the floor (recalling a great scene from the end of rhe 1940 Ш ЛГшодиу4; Hand}. Susan is a slightly more intelligent zombie, speaking л few words in a scratchy and uneven voice: 4Whur’s hap ... pentd ... to ... me?” She completely returns to normal after taking an antidote, however. The entire zombie component of the film is tacked-on footage ar the beginning and end, only thinly connected with (though fer more interesting than) rhe intermediate plot. This woeful attempt on Adamson's pan to salvage his docile л nd outdated '60s horror footage i$ not unlike Akro licking ar the dreg$ of his zombie potion on the floor.
1'hr Bcneyard 25
Alternate titles: / be Fiend u-ilh the Atomic Brcriw, The Fiend urith the Synthetic Bnjbi, The frl^nr №-jrfr the Synthetic Brain.
Bloodsuckers from Outer Space
Dir- Gten Coburn. Rick Gartoigwn. Smwfdfiy. Glee Cobwa. Guft Thom	.Laura ! Ills, Dtams Lctis. Onc uM Hdsc Prodirttwns, 19b4.
Corny pokes and obvious visual gags officially launch the mid^'S Os zombie spoof cycle in this primitive production—by all rights the whole trend should have fallen, я rill buffi. An energy field from outer spate, which economically manifests itself as i gust of wind, descends on a rural Texan, farming town, turning nil who inhale it into zombie-like bloodsucking mutants. Jeff (MeyersJ and Julie (Ellis) try ro elude the spreading menace while a paranoid military general (Lens) itches to nuke the entire a rest. The alien wind, ar la it descends upon Jeff and Julie, hut they’re able to neutralize the effects by sniffing nitrous. The movie ends with л scene of everyday life in [ht fully’ zombi lied town, where • bloodsucking mutant reads rhe paper, another remarks whu a nite day it is, arid children mutants play tow in the street. Bloodsucker* is a lot like the following year’s Rcfi/rir of the Living DcjJ, except that it isn*t funny or exciting, Rest line: “When are you going to кзгп that ж is shit?’
Only those who breathe in rhe a hen wind became bloodsuckers; the condition isn’t spread Through bites or wounds, they can more quickly and stealthily when they want tn, but mure often they just lurch around, hunched over in an Igor-like manner. An aiKjnulousJy civilized zombie &ives a complicated speech in a lecture hall, claim ing chat a certain 'intergal act ic energy ** is glad at la 51 to have found j physical form in which tn manifest itself, so that it can know rime and death and finally come co an end. Thafs all well and goodT but it s entirely askew with the coarse, ajiisuhttic zombies out in the streets, who rely entirely on shooting jets of blood and Gilligan-esque gags for fheit intended humor
Ataei Zombies see Одой of the
The Boneyard
Dtr: Jaines Cummins. Prod; Richard F. Brophy. S»wHp/dyr Jamc* Cummins.
Gtjr: Ed Nelson. Utburah Ros?, James Eusrermena, Dcniw Yeung. N ar man
26 Htweiv at Mitftiigfjt
Fell, Phyllis Deller, Willie Srratford, Jr., Robert Yun Ju Ah fl, Sal I it Middlr 900 Kii htf idrq JiLiikc Dr ver, Cmd^ Dollar-Smith, BudtbOO» Production^ iw
in this energetic but directionless fiend-fest, Police Lieutenant |er-sey Cd Lum (Nelson) and his skeptical partner (Eusrermann) recruit the reluctant aid of n burnt-out psychic (Rose) to help identify the bodies nt three children whose apparent killer, mortuary owner Mr, Chen (Yun Ju Ahn), has turned himself in. Chen says that for three centuries his aficestors hav-e fed the ghouls human flesh to keep the world safe from them. Lately rhe “kyoihi" — rhe demon children-" have been gerring resrkss+ however, and since he has no wife or profit eriy t<] continue the line, he has conic to rhe flUThoriries out of desperation, РЬуШн Dilkr appears as vitriolic Miss Ponpinphr/, who becomes a cowering monster with skanky, mottled skin und fake ping pong ball ryes. Meanwhile her white poodle Floufsonis licks up some of the goop from л dead ghoul and turns into i humongous Poo clie-zJIla creature. The film has excellent acting (especially from leads Nelson and Rose] and a professional feel, capturing some of the spirit of Яе-Дл-Ь^гог and ReiCuru offbt Living Dead while generally avoiding obvious shocks and surprises, lhe first hour, which has a serious tone, is engaging and thoughtful, bur things just get silly ns rhe genuinely creepy ghouls give way to the phony Poopin plan creature and rhe comic poodle monster
The ghoulish “kyoshi" gremlins (Ka 11 renter, Dever, Dollar-Smith' are superbly conceived and vi&ually effective: they are hunched ove^ brutish, and naked, hut mj covered from head to toe with dirty, black, slimy skin thar even their sexes are indistinguishable. Thr. growl and gurgle, squatring contentedly over the cadavers they feast on; thej even car from the remains nF each other They mmc quickly arid have nanty grips, attacking with their mouths ur claw-like hands [one has a very long pinky finger with what for allthe world ippeara to be д coki muL. ^incc the ci i< is. centered jh their heartst destroying tbt chiesT is the only way to dcanimw them. One of rhe twisred demon goblins carries a nice doll with her.
Bowery at Midnight
Din Wallace Fml. Prud: Sam Кягишш, Jack Datz. Sereewphy; Ceroid SehniCtcr. Cajft fsda Lugosi, ’Wanda McKqy+ Jtihn Archer, Lew Kelly, Tom Mtn], Vince Harnett, Anna Hope. Wnnograni, 1942.
tiuiiwy at Midnight 27
XX hat it lack». in jCtirMlT Вогтггу at Midnight tries tn nuke* up w.ilh increasingly improbable levekcf phi complication 5, Re I a. Lugosi leads three lives/— by daj renow tied psycholcgirt Professor Brenner» by night the manager of the charitable New York й Bowery Fravndly Mission/1 and somewhere in btnvecn, the loving husband of a wife who wanders why he's never around. Further mu re, (he mission is only a front for ВгслпсгЧ underground crime racket, Hi?i hallmark is to leave rhe body of ,in .accomplice at every crime slit. It turns oul that Brenner's livc-in basement lackey “Doc* {Kelly h once .a great doctor but now a snivelling derelict, has been reviving the corpses of Brenner's victims instead of burying th rm as instructed, and keeps them in a secret pit under a grave marked ^Hiltou." Psycho logy student Richard (Archer) and mission worker Judy (McKayI help the police uncover Brenner's npcFAtion._ The horror i! mild and quickly defused by the closing scene, in which Richard—after being killed and revived as a zombie earlier in the movie—is inr splicihly healthy once again, Ijdfihing merrily with Judy. More of a cops and gangsters movie than a horror piece, Воитгу is just spunky and unpredictable enough to sustain interest.
There are only two brief scenes in which the revived corpses enter the story line- villain Brenner doesn’t even know of their existence until his final seconds. In the first scene Doc opens rhe fake grave that covers tht dark pit, telling them that it4 feeding time, and promising them a new companion (Brenner has just killed another assistant к Looking a little scruffy and disheveled, the restless stiffs gather expre-tflntly around the ladder, and start to climb к until Dot close* the [rap cm them. Then we don't see them again until the climax, when [hey crowd around Brenner himself and violently drag him off screen to kill him in wine unspeakable manner. Though the word never comes up, these revived bodicsareckarly zombies—inarticulate, min imally aware of their surroundings, incapable of resistance or expres^ si on, slow I у shuffling around Ln rhe dark. Set in Manhattan^ .Boirrry is г hr first movie to place zombies in a domestic rather than ii tropical island locations
Bracida-Tbe Terror of the Living Dead see КеГиги of the Zombies
sec Dead Aline
Breakfast at the Manchester .Vforjjwr see Lei Steep iwg Corpses Lie
28	d/Re-AHjfflj/rjr
Bride of Re-Animator
Din Brun Yurna. Prad\ Brian Yu/na, .SfreewpDy: Woody Keith, Kick Fry. CdJt: Jeffrey Combi, Bnicr Abbott.. Claude Fad J<>nrs Fnhiana Udcnip^ David Gale, Kathleen Kinmoni, Me I Stewart- Wild шест Pictures, 1941.
The Rf’/WwMtfor team is back to peddle я jpciinrkss and forger table sequel to their 1985 classic, bur without director Stuart Gorden—Brian Yuzna (who produced rJie original) takes the helm this time. Light months after the events of the Erst movie, West (Combe) and Dan (Abbott) are back at rheir old experiments, despite the tact that West died at the end of rhe original. Nut content merely to revive the dead. West now aspires to create new life altogether by sntching body parts together. Mean while the disembodied head of Carl Hill (Gale] turns up again, acquires bar wings, and summons rhe aid of another army of maimed cadavers to seek vengeance tin his old nemesis. In the over-burdened climax, Dan and West's patchwork creation, is unhappy with her restored life and pulls our her own heart, while the protagonists are attacked by H til’s zombies and a host of other Clive Barker-inspired nnatomical abominations from West’s reject room. The pedestrian script sidestep die mofit interesting questions, leaving die fragments of scientific and philosophical insight ns uncon ncctcd as West’s monstrous offspring. Even West himself is less charismatic, his innocenr self-indulgence and pointed sarcasm coming across more as belligerence this time around.
The created woman (who is sopposed to be Megan from the first movie) tails in line with the standard Frankertstcinian ‘"Why did you bring me back |ust to make me a monster?4 paradigm. None of the other reanimated cadavers—all under Hill’s telepathic com to I—have any intrinsic drive or autonomy. Little of the first movie’s zombie conceptualization i$ really expanded, except that when a cadaver begins to break through a door with a fireplace poker, West exclaims, “My god-rhe v re using tools Г We've already been through all this with Romero'i Defy of th? DcJd, <jf course.
Alternative title: Rc-Ah»™^ H,
Bndes of Dr JekyH set Dr. GHo^F’s MoMster EJ Buqtre гпл/difo see Horror of the Zombie*
Bunjf Спли mi 2?
Burial Ground
(Ofig. £e ttittii del Lerwel- £>ir: Aildrra hiaitchi. Prtui'. Gabnck Cnuilti. £стденрЬу: hern Rti’nijlL C js/j Kirin Well, Gian Luigi Chirizj.i, Simunc Mattioli, AnMilictra Anrinori, Rnberrn Capnnili. Peter Bark, Maria Angela Giordano. (ЧцЪзп Ci пгт лпдт.тйса (Italy J, l480.
uThc earth shall tremble .... graves shall open ... they shall come among the living messengers of death and there shall he the nights of terror,"
Bi an eh i*$ contribution to the Italian zombie torrent is a high-impacr, somber dirge that sustains tension mercilessly and wastes lit lie rime on plot and circumstance. A professor working in the cemetery grounds of a rural Italian estate raises the dead by means of ancient Etruscan magic, and becomes their first victim. A group of people without backgrounds or character development come ta visit the estate for a vacation, but the undead hordes swarm them straight away, terrorizing them throughout the night and into ihe next day. A brotherhood of zombie monks joins the Etruscan crew to finish off the survivors. The gore is heavy, rhe violence untamed,, and frostrations are augmented rather than relieved, UwrAfJ Grown J is widely distrusted as a cheap clone of Fulci's Znmhe , 1979}, bur actually Bianchi succeeds лег only in capturing but even enhancing many of Zombie^ strong points, Bizarre, cosmic synthesizer music accompanies the slow-motion invasion, which concentrates almost entirely on blocking and pacing- There is no moral—no anti-colon la I or ecological sub-rext—only an abstract apocalypse, painted in earth-tones and black. Few zombie films attain such clarity of vision.
The blackened, skeletal zombies are soiled, worm-mfewed corpses similar KJ de OsSOricA zombie люикь, except that these have no malign intelligence or ritual order. Some of the masks are lame, but there are also goad dry, crumbling effects when rheir heads are smashed with rocks (make-up artist de Rossi also did effects for Zcw>-ihte|. The famous ьсепе in which a zombie child bite* off his mother s nipple is often cut Irani video releases. I he zombies walk and move with almost painful torpor, every gesture taking л small eternity. In one scene, when a vicrim moves her leg out of a zombies grasp, there s something perfectly sinister m the way ht doesn’t react but simply watches her pull away from him, without budging. So dull are this zombie^ win that, thrown, off by his failure to gnib the intended leg, he has effectively stopped si together, U приз i Ml J in patience and
W Сдо/le a/ th?	of
rtkmkssnc&i icxccpt perhaps for dr Ossurio^), these undead arc Exquisite.
Alternate titles: Zombie 3, Zombie Horror.
Ьт Cdtfc' дмж /олпбтег sec under 1л
Cannibal Virus see Nigbi of the Zombies
Li Castillo de las mumtas de Guanajuato see Cdpfk of the Mummies Guanajuato
Castle of the Mummies of Guanajuato
( O.rrg. hi Castilla di las тдотпог de Guanajuato}. l)tr- Tiro Novaro. &Greenpliy Rogrlia Ajjrawnche?. СдгЛ Superiirt, Blue Angel, Tinicblas, Zulmj Fahd, Mara Salami. Prttdiiivionc» Filmkas Agjasincbta (Mexico], 1973.
П?р A4wpfwes □/ GndMa/wjZn was widely popular, and sequch had to follow, Forget everything about the first movie. except that ii was funny in a painful son of way and had some masked wrestlers Forger Guanajuato, even—this was shut entirely in Guatemala. Now we meet glittery Super? art, Blue Angel, and Tinieblas, who rour rhe country without luggage in a VT minivan until running afoul of evil Dr. Donner. To supplement the shady dwarves in his employ, rhe superannuared doctor raises straggly-haired zombies from the cemetery by means of black magic. The inept, creaky-hmbed corpses claw their way out of their graves (through what must be half an inch of loose straw! to abduct and torture locals, as part of Donner’s occult experiments co find, the secret of eternal youth. Controlled by a si km whistle—like dogs-rhe ugly zombies dap feebly ar the wrestling heroes tor half the movie, at last mrrimg to dust once Donner is destroyed. Only for diehard apprcdaiors of Mexican wrestling movies and other shiny objects.
Cemc'tent) def terror see Zuwibw Apocalypse
The Cemetery Man
(Grig, pf/fo worLc de/'diw|W). Dir Michele Soavj. PfoJ; Tilde Cursi, Gianni Romuli, Michele SoavL 5ьт«эд^у: Gtanni Ronviii, QrvffinjJ1 wotvh Tiziano Sdavi. Gjj/: Huperr Everett, Francois НафьLaura. Anna Fakhi, Mickey Knox, F ah i an а Ьглттса. Clive Riche, Katja Anton, Stekno MasciareUi. AudiRimAJrania Film [France, Italy I, 1994.
PtcTure n ficckeiT play, add sex and gnre, and set it against a zambit-invasion backdrop. This French-kalian production combines rhe best or horh traditions; quirky interpersonal dynamics and
TfceCAiW 31
rxistential mrdirations from the French side, and sumptuous cine-matogr.iptiv л nd prim*] zombies from the Italian. Fra net’Seo Deb lamorte is the bnrnt-сшг, drop-dead handsome caretaker ar the Buffalora cemetery, where impish blue wifl-o* rhe-wasps dance in the njghr, and where rhe di!ad rhe from their graves to seek the flesh of rhe living seven days after they're buried (sometime! a little sooner, sometimes a little I iterj. Though he cfo^rft know why the phenomenon OCCUR*, he dcicsn/t care qehe enough to report it to the authorities; “It's easier iu>t to shorn them,* he shrugs. Francesco and bis simpleton friend Gnagi make a terrific pair of heroes as г hey search for meaning, perplexed ur every turn by unmanageable relationships, remote and incompetent authorities, snd the restless dead. The twisted vision of lift and love я at first stylish, then turns increasingly campy, and at last crosses over into pure allegory. Suavi's tour de force is one of the more complex zombie movies, and one of the few that may speak to more than the normal exploitation audience.
Thr dead decompose quickly in the hot climate and are in bad shape by the time they return to rhe surface world—‘pock-marked» bluish, and covered with leaves and dire from clawing their way nut cl [he ground. Camp moments include a rebel biker zombie driving hi$ motorcycle out of the grave <in an echo of rhe off-beat 1963 movie but rhe funniest zombie scene involves tn entire Boy Scour troop going off a cliff in a bun and coming back ел masse. Sometimes Francesco kills off a few locals who aren't dead ует, just ro get ahead fan his work. After accidentally killing a living person along with the intended zomhic, be muses, “The living dead and the dying living are all rhe same, cut from the same doth. Bur disposing of dead people is a public service, whereas успГге m all sores of trouble if you kill someone when they're still alive.71 Can't sort ir all out? Neither can hr.
Ake mart titles Demortf ’95-
Cbamber of Threw res see Bare?л SMoJ
The Child
Dirt Robert Voskanian. RWl Robert Dadflihian, SreMpfaryi Ralph luras. CM Laurel Barnett, Rosalie Cole, Frank Jansun, Richard Hanners Ruth fallen. Panora ma Films, 1^77.
Slow-paced bur atmospheric Г/ге CfoM domesticates lhe zombie
12 i 'WMren Sfroft/Jn’/ Р/лу ич'/Ь Dtaad I hirtgi
apocalypse, portraying familial rather than societal Tensions through the metaphor of the undead. Unsuspecting guvernras AltLianne {Barnett) comes to serve as substitute mother for creepy Rosalie (Cole), who exhibits strange telekinetic powers. Having ио friends, the spoiled girl makes some (literally) in the cemetery next to the house: she animates corpses and goes our at night to play with them. As Rosalie's frustration grows, she has her “friends eliminate people who displease hrr, including her father and the rest of the cast. The him offers a moody w.ort and capable cinematography lor such a low-budget effort. Though it’s a little hampered by wooden acting, it nonetheless sustains an unimstakabfa, lingering charm.
It t$n’t clear whether Rosa lie uses her power ь to reanimate the spirits of rhe dead or pimply moves their soulless bodies around telekinetically, bur in general her undead chums seem to behave as autonomous agents. The bald cadavers arc < ruddy and earthen, with black, moldenng clothes* loamy flesh, and long, Max Schreck-like claws, and on top of it all they take on a rnuumtul bluish tint m the movie’s budget lighting. They lurk about the forest behind the trees and in the bushes, feeding on local specimens of wildlife. The zombies don't speak, emote, or show any intellectual awareness, though strange calls are sometimes heard ar night, They attack only with their daws and teeth, and can be easily Juanimdtcd by being stabbed in rhe neck of axed in the head, for instance* They're also unusually sensitive to noise, and the sound of a car horn continuously sounding drives them away holding their ears. These zombies are interesting mainly in their ptr-likr relationship with their animator* the innocent Rosalie, who draws schoolgirl sketches of her killings and brings rhe zombies litters of kittens to snack on.
Alternate titles: О and Go HiJe, Zombie Chdd.
Children Shouldn't Play with Dead Things Dir: Uiih < lark.. Prod: Bub Clark, Gary Cucli. Screettp/ay: Benjamin Clark* Alan Ormchy Сл#П Alan Ormsby, Valerie Ma inches, Jeffrey Gillen, Anya Ormsby, Paul Cronin, fane Daly. Geneni/ВrandywineAlorionarts, 1972,
Bob Clark and Akin Ormsby gained a minor cult Fallowing with this quirky labor of love.. Egoistic and mdodramatk director Alan Ormsby) brings a group of his occult-curious actors tea an island cemetery, where hu я poo It s them with pre-planned pranks and stages a ceremony to raise rhe dead wnth a joke Satanic spell from his ancient

Droid grimcire. The gnmoire turns our to be legitimate, of course^ and the dead promptly rise from their graves tn feast nil rhe living. The movie becomes. an encapsulated replay of Night from this point on; the group barricade them selves inside the house,, hoard up the windows, and devise a plan to escape that fails tragically. There's even a cats ionically unhelpful woman hovering at rhe periphery.. Once all the characters are dead, a group of zombies board their boat and чгг off for the mninland. The suspense is poorly balanced; too much build-up prevents the actual zombie sequence from mounting adequate suspense of its Own, while the killings come late and rapidly. The attempts at humor fizzle, but the томе Haunts an eccentric audacity that keeps it from becoming predictable. Unquestionably the Scariest thing about it all is Alans pants. Best line; “Tbe dead are losers.ta
These surprisingly convincing ghouls aren't your glassy-eyed Mank scarers; they're savages. Clearly they’re trying too much to he zombie-1 ike, though, grasping exaggeratedly with arms outstretched. There's no evidence chai their victims rise again, and at least one of them would certainly have had time to. On rhe other hand, their intelligence is hard ro determine: they don't use tools+ bin one figures out how to chmb on a roof to get in through a second-story window. Even more impressive lyT they calmly board a boar and take oft from the marina—thus they at least know how tn untie the mooring,, and ire clearly seen working at the riggings. Of course, these undead aren’t autonomous agents but arc driven by the powers of Satan, The lighthearted tone of the first hour disappears altogether tor the closing zombie assault sequence, which is played seriously,
Alternate title; R/wngtf о/ ffee f n'fnjf Dead.
The Chilling
Dir, Drland Nuse, Jack A. Sunwri, fVod: Jack A. Sunstri. S^rwwpfjy: Jack A. Sunseri. Graft Linda Bkir, Dan Наделу. Troy Donahue, Jack A. de ftieux, Ron Vjliccnt, John Fhnjgan, Michael Jacobi.. Trari>. Bay ГЕгьегс^ I**1*1*.
All is not well at Universal Cryogenic Labs, Inc., in Kansas City» Missouri, where bodies are kept frozen for possible future resuscitation pending technological breakthroughs. For one thing, corrupt president Dr. Miller (Donahue) is actually selling his subjects’ organs on the black market; mid for another, direct bolts of hfihming strike rhe body storage cannistcrs and cause the dead occupants to burst
34 I Jrup/Jt1» ( fijijtis j« Ztijwbieiijn'n
out as savage zombies. Он hand are sccmrity guard Vince (Haggerty, star of Gnzi/y -At/twris) and customer relations agent Mary (Blair, f.irnnus for hr г possession in The Exorcist)* Г he zombie “LtyomiiJs*’ run around killing and eating the servicemen and other unlucky after hours visitor^ at the plant., until Viner diacuvers [hji cooling chcm keep* rhem at bay. He Jousts them with liquid nitrogen, The end sequence relates, “Vince retired [a. rhe mountains or Colorado with Luke, the Jog. and his pet bear/ Hie film is belabored anJ obvious^ but it’s not every day you see Grizzly Adams fond off я horde of zombies with a forklift.
The cannibal cryonoids gri around wearing the silver foil body suits in v-hith they were Initially frozen, Their Ызск, shrivelled bodies nr fleet a variety of hideous deaths and reveal the half-hearted nature of [heir preservation, rendered even more unsightly by rhe charring they suffered horn the lightning. They don't speak or show signs of intel ligence, but ar the end they put Milfor in a cryogenic cunnister Ji nd operate the controls to freeze him. (Say, how do they know which buttons to push?) 1 he freezing eft'iyt of liquid nitrogen slows th^in down, but actually they die in a variety of ways: burning, shotgun wounds, and tai J mg unto pavement from a great height. Though they don’t really do any tiling interesting, the cryonoids do look sharp with their glowing white eyes, wearing their sleek, IV dinner foil suits.
Chopper Chicks ш Zombietoum
Drr l>an Hopkins. Prod-. Mana Siiyder, HcreeMpifly^ Pan Hnskins, Cm/! jdmir Rfisr, Catherine Carlen, Lycia Naff, Vicki Frederick, Kristina Loggia, Crnthcn ВДгодМЬм Метко, Whjwy Reis, Ed Gale, Dun Calf*. Chelsea Ганпггь,. 1989.
beat her dad biker women called the “Cycle Sluts/ led by Joan fort-ary led, whip-crack iiig Rox (Carlen), hit rhe small desert town of Zariah with a bad attitude and a host of appetites, but jtt июй the target of town mortician Ralph Wil Ium’s (Calfa) evil plans. Will urn is. reviving the dead by means of a battery impknt in rhe head, and forcing them to dig for radioactive substances tn an old mine. Though driven out uf town by !□<&] citizens, rh-s cycle women .agree (o help them fond oft the zombie attack anyway. Ensuing antics include rescuing a besieged school bus foil of blind orphans, and saving a baby by tossing it around and then out the wttdw like a football. The bikers at hsr гтлр all rhe zombies m the town church and blow them
Chf/pper Chicks in ZombietOwH 35
up,, using rhe blind orphans singing hymns for bait, The interesting camp free-for-all has strong gore effects, some Fun momenrs, and a few good one-liners , st sth пипу more Failed attempts^ though on the whole itTs forced ,ind overdone. The few serious moments and mor-alizanorts are sadly cut of plate, and the derisive treatment uf bob the dwarf (GaleI is tasteless. The premise suggests interesting oppor t unities to explore gender roles and .11 ternate sexualities^ which are utterly passed over. Best line (soil co zombie father): ^Ah geez. Dad— look—maybe if you don’t eat anybody,, no one‘11 notice.”
I’he zombies play it straight, but slapstick polka music and slide’ whistles accompany their on-screen appearances, and everyone playa pranks on them. The mildewy departed crave flesh., though they aren't terribly picky; it daesn+t have to be human or even living and one dudes* ghoul even tries to cat д hand grenade. The major inconsisMncy is the discrepancy between the rombie masses and character zombie Lucile (Keis), who has voracious sexual appetites fur the living but cfocWr hunger for them otherwise. The zombies can only be stopped by removing the battery in their brains—in other words, as usual, by destroying ihe head. Alter overrunning rhe town, the somhies engage cn normal small‘town activities for a brief period: one pushes along a rotary lawn mower, for instance, and a couple of good 0Г undead bovs in rocking chairs sip hooch. Though the movies nothing special, more thought than usual admittedly goes into exploring zombie spoof possibilities.
C&mrittd cbej Fes mom отсдо/; see A Virgin Awong the I ihrng Dead
Cbifr/iw, Prineess of Eroticism see A Virgfn A mow# the Lrtung Dead
/jnWewe d₽ feroriswe see A Virgin Awto/t# ffre f hiwg Dead
Cftratittci, S«r Princess sec A Vwyin Among //je Lfofoff DerfJ
Cfatpc fambr per un medium see Terror Cmrfiws /rowi the Gntw Ciiy of nhf Dea J see The Gates of Heil
City of the Living Dead see Tbe Gates of Helf
36 Cl*y iff fbt	Litad
City of the Walking Dead
(Orig. tacwbu fftiiti title rrjfl/^FFFjflrfAJL Dir: Umberto J riw.i. Pre dr Diego Alukirticdt?, Luis Merulti. Srrt’rff^/cjyj Piero RegUoli., Ашопй t hrtjTJosn: LutH Delgado. Gjjf: Hugo StigJiLz, Lauri TfutlcG Mana iCu^ma Onuggio, Fran-riseo Rabid, Met Ferrer. Diafchi Film^l.titus Irttnnatiunal Film (Italy, Spain}, 199П.
The veritable Waterloo of zombie cinema, thus lamentable retd-stain is+ at ns best momenrs, a forced and pointless test of endurance, Squdchy lunatics suftcring from radiation poisoning pour cut of art airplane and storm a major urban center. News reporter Miller (Stiglitz) яп J love interest Anne flee from the rapidly Spreading zombie catastrophe, eventually winding up in an undead-infested amusement park amp д roller coaster. The movie is Essentially a lot of running around punctuated by occasional moralizing, v. hilt the gore effects .Ind suspeure sequences are trite to the point of insult. The best part is watching one of cht major protagonist? fall to her death., bouncing ignominiously rhiоurH ihe beams of the roller coaster structure,.
i'he muiani zombies аге utterly unconvincing; some black goop applied to rhe face passes, for make-up, The atomic radiation apparently attacks subjects' blood celk, &ijch that they have to replenish their supply L-ontinually by drinking that of rheir victims. In a hospital, they even slurp direct I) from the blood plasma bags. Hie zombies gener-ally don’t kill with their hands or teeth, bui employ a number of handy implements: chains* knives, axes, sickles, bars, and even a machine Run. <)f course they target women's breasts, someriiries rearing away the shirr before stabbing or biting at rhe victim* and one cuts off a woman's nipple with я knife for no apparent reason. Unlike rhe standard late ’70s to early T№*i zombie fare, these zombies aren't slow or clumsy—they run, aim, jump, and all bur perform on rhe uneven bars. They're also highly intelligent, cutting phone I in и and driving cars, and one zombie artist is even found working on her sculpture, In fact, their concerted attack against media centers* power stat Luns, and iniliEiry installations bear all rhe marks of an organized urban assault, Ugly people in lounge suits with shut polish on their faces running around in every direction hardly constitutes a proper zombir movie, however
Alternate tit les l Lu	de los wmbiet atanticoSj f nasion
о/ ibe Aiorwic Zombies Nightmare^ Nightmare Cffy.
Сгелщ/г witk f/>₽ Afcwr Uni e« 37
The Corpse Vanished see	of fbe Zombies (1194 J)
Creature with the Atom Brain
jfJjr: Edward 1. Cahn. Scrf-enpfay: Curt Siodmak. Smrjr: Curt Siodmak. Gjfl: Richard Denning, Angela SreveiM, Michael Grange^ S. juhn Launcr; Gregory Gay, Trbsmam Gnftin. Qilumbia Pictures, 1955.
Cahn's fascinating mid- 5Os scitntc-tiulion feature basks lovingly m rhe rwn miracle technologies of the period, rlcttrwnics and nticEear power. Deported mob leader Frank БиJuiian (Granger, w iih the hdp of rrlsicTant German scientist Wilhelm Steig) raises rhe dead with iicomic power and brain circuitry implants, sending them out as iiti&roppable assassins against those who originally had him convicted. Police Captain David Harris becomes a iambic and unwittingly lends the authorities ha<k to В uchanan4 hide-out. Domestic security is «псе again restore J for rhe nuclear iamily, represented by Walker (Denning) and his Berry I rocker wife and, daughter. Good ’50s fun abounds, with all the twisted gender ideology and antiseptic social ideals char that implies,, packed in a tightly-wrought action film with strong (if entertainingly dated) conceptual support.
Buchanan procures bodies from ihv morgue, and Src-ig. reanimates them with brain imphnrs after replacing their blood with a radioactive chemical com position (rhe resulting bodies are said to be “charged" with “atom rays’). The zombies’ power source is a bar of radium that Dr. Steig keeps in a containment chamber bur blithely waves around in his hand once in a while, when ht wants to emphasize a point. The creatures all wear suits and ties, like good upstanding businessman aombies, though most have sutures across their foreheads from the brain surgery. They walk mechanically, scaring straight ahead and keeping nil movements io a bare mini mum. From their laboratory Buchanan and Sreifi can observe on a screen what rhe zombies via “light-sensitive implants* behind (hr eyes, and they direct the creatures’ activities by speaking instructions into a microphone.. ГЪс zombies don’t even flinch when shot repeatedly, but continue following instructions so long as rhe brain isn’t ldd damaged. Buchanan and Steig “feed" the creatures in the I a h , as part of their daily taurine, with radiation charping.
The brain is the first part of the body ro die, while rhe test of the body takes, longer-this is why it’s possible to raise the bodie* without the minds. Steig tan only keep his specimen* gomg for a Few days.
3N
until they disintegrate, however. Ah hough it's repeated I у insisted that rhe creatures have nu awareness of anything, and that JI former memories and personality are wiped our. they still seem to figure our certain things on their own, such as driving a car without being given any i пл t ructions more detailed than: "New drive rhe car.*" The zombie creatures, in the midst of rheir climactic hand^ro-hand melee agajnst the army and police, ah fall to the ground lifelessly when Walker destroys the computers in rhe lah.
Creature wears irs anxieties on its sleeve. On the one hand, it betrays a studied avoid ante of death: rhe Walkers go to great lengths Cf] avoid incing their seven-year-old daughter know that such a. thing as death eKis-ts, hiding newspapers and celling her that the deceased Harris, with whom she was close, **h.35 to be away for awhile cm business,’' On the other hand, the movie parades ihe mangled cadavers about almost with relish.: sometimes they press their faces right up to the camera. The zombies here look meaner than chine of b40s movies,, and they're also white instead of African American. As in frnWers /rom Mjes (1553) or Jiri’danjfl о/ ibe Body Snatchers [1956)T the enemy is internalized: the “other'’ turns tmr to emerge from rhe Very heart of rhe American workplace and home, Though the script is at pains to rationalize and sterilize the creatures, insisting in every possible way that they arc nor “us/ the images on the screen plainly imply rhe opposite.
C reeps see Night of the Creeps
Cree pshaw
L>ir. (лсогре. А. Иогтмлх Frod; Richard P. Rubinstein. 5<лдокр1ду; Stephen King, tdsfi Stephen King, Hal Holbrook, Adrienne Barbeau, Fni? leaver, Lcilie Nielsen, Carrie Nye, Vivcca Lindfor^ Ed Harris, Ted D.niwn, John Ampins, E.C. Marshall. Laurel ^how/Warncr Bro*., 198<2.
George Rumcro and Stephen King collaborate: on a popular and spirited horror anthology, based on che eponymous comic book, in ’’Farber^ Day/ a wealthy heiress (Lindfors) accidentally resurrects her father (Ampks} by spilling a bottle of Jim Beam cm his grave. He gjtKs around killing everyone on rhe estate in search of a Father’s Day cake* at last settling lor a victim’s head on a platter, Forced and mechanical, this is the weakest of thr five episodes.
I he third segment, "Something to Tide You Over/ is much

Gt-orgt Ronifrn and Stephen King attempt ТП ггниттсСГ ihr waning horror anthology I rend in 19S2 with CfwpjfrnH'.
zestkr. Jealous husband Richard {Nielsen} bunts wife Rebecca and her lover J larry (DaiBOti) in the sand at his beach house, and. videotapes them dying as the tide comes in. They return later as zombies-bluish white, with tightly drawn skin aad bloated features, covered with seaweed. These watw-logged undead, speak with absurdly dmurted
4 kJ	J he Стя uf the Devi/
voices that resound with a gurgling bubble Effect* and are accompanied by haunting* echoing “Song of the Whale 1 sounds.
On me of Voodoo see Uudngd
Los Crr'ffljwfs de Ustar see Ztnwbfe J: KcvtJfffC of the House of Lfctar
The Cross of the Devil
(Ong. l.o rrwj det diabkt} Dlrr John Gilfting, Ssrernpljy1. Ju-an Josi frirtu, JftCifttD Molinar Cdif: Ramiro Oliveros, Carmen Sevilla, Adnlfo Мдг«|1^ИС* Lduardc* FaiiiOj Emfiia Cuhcil* Monies Randall. IS и Ines, f Spain}, 1875.
Though ostensibly ba$ed on stories by Gustavo Adolfo Becquer, this 5пооЕу talc of murder л nd mysticism set in nineteenth-century Spain is inure obviously modeled after the de Oswrio Templar люпк series. Washed-up writer Alfred Dawson I Oliveros) travels from H Cii-don to Spain to visit his lister Jus-tine (Randall), only tr> hud her dead. He charitably suspects everyone: Justine’* husband Enrique (Fajaroh who locks vaguely like Lome Greene; Enrique's sinister assistant Cesar del Rio (Marsillac), who may or may tier he the devil; and evil Тетпр|лг ghent тпппкь from the Middle Ages. Hr at last arrives at the shunned Iron Cross ai the foot of the Mountain nf Souls* where he releases a trapped, immortal soul from .1 curse, only tn be hauled off by the police. As the inirfott details of an ancient and predestined drama unfold, Dawson has trouble sorting out reality from his prophetic drcams and hash stupors* and the movie watcher is no better off. A disappointing final film for tx-Ha miner Studios director John Gilling (most famous for Plague of the lombiei and Tita Rep-ide 1 who moved iti Spain in 197(1.
The long-awaited zombie monks themselves only cumr out briefly at the endj emerging from the shadows in white robes w ith red crosses on rhe front. They яге completely covered except for their dark skeletal faces, which ,ire only barely glimpsed in passing. A few seconds 0+ Gregorian chant and a tolling hrll accompany their арреиглпсе. 1 hough no one has yet fought the Tcmplan. and lived, somehow this drugged цръ has-been writer easily defeats rhpm with a few parries and thrusts. I he iliru^y Templar monk scene owes everything to de Os&orio save its I amenta hk lack of suspend or artistryi
Id Сгв? del diable see Tita Cross of the Detril
< rypt nf the fliiffii Dead tee Tombs of the Blind Dead
Ft*? (iirse of dv JJktll Peopif 41
Cm& of the Damned see Ffcf йнл^е People
Curse of the Hine Lights
Dif. John Henry Johnson. A‘md; John Henry Johnson. fcrratpfaj: John Henry Johnson Story: Rryan Sisson, John Henry Johnson, QisT^ Clayton MeGaw, Patrick Kell* Deborah DeVenccntj, Becky Golladay, Brent Riltcr, Marty Bechina, James Asbury, В retina Julius, Kent РгпгеП, VkilLirJ Mj.11. tamarack IVoductions/Blue Lights Panners, i5>&8.
Л bunch of meddling kids in rural Dud lev it urn hie	Loath
(Ritter > k-ader of the ghoul cbm Kwa, and his ghoul minions (Fritzdl, HallL These trollish flesh-fliers attempt iy fulfill an ancient ghoul prophecy by reincarnating .1 demon gargoyle. Under this Anri-Messiah, Loath and the ghouls hope to usher in a new егд of darkness that will reign forever over humankind. But once he arrives rhe demon gargoyle doesn’t partdcularly seem tn know anything about any era of darkness—the first thing he does is (0 crush Loath's head. The 1 invited budget effects and talentless ас ring cripple an atmosphere other-wise served well by close attention to lore.
The first rombic scene occurs in an old house, when two women stumble across the ghouls’ larder of bodies. The peckish undead come after the squealing damsels, only tn be fended off at rhe last moment by a ghoul with a whip. Then toward the end of the movie, Loath casts a dark spell to awaken all rhe dead in rhr cemetery tor devastation-spreading purposes. The segment 0WH я lu[ to of the Living DedtL right down to a familiar police barricade scene. I he zombies are unobjectionable, if conventional—certainly more interesting than the actors in the fake ghoul masks.
Tbe Cwrse of the Doll People
(Orig. VJwnero? rFf/wwufej}. Oro Benito ASarraki. Prnd’. Vi г iam Calгоп S'cll/Pcdro Calderon,. Guillermo Calderon. Story and StrcenftLryi Alfred (Abrb Salazar. Сси/: Elvira Quintan a, Ramon Gay, Ruben G. Rivera, Quintin Bulnes, Alfonso Arnold. CineimitQgr^fca Calderon (Mexico), i960.
Unstoppable K. Gordon Murray, who imported Portillo s incs-tunnhlr Aztec Jtfjwwwy series, smuggles more Mexican horror over the border. Alter four iGurisrs invoke the curse of a voudno priest (Ви1пс$) by witnessing язе red rites in Haiti, oversized animated dolls (actually creepy-look Ing, dwarfs in suits) begin stabbing them and
42 DtfMvt the Dta J	__________
their families. The priest, whose I.и г features a rats ting disco ball, has a rombte named Sa bud to deliver rhe dolls and perform various [>dd jobs. Arkst die heroine Karina (Quintana) and some tit hers trace him to his hide-out, where they keep him and his evil, minions at bay у, ith a. cross and then destroy them all with fire- Like ferry Warren. K. Gordan Murray bought up cheap Mexican thrillers, picked out th г murder or monster foorage, shot extra English language scenes to ensure incoherence, and distributed the resulting abominations on rhe children’s matinee circuit. Many of th rm are now notorious cult favorites, virtually unobtainable tn the States except in these re-edited versions.
Sab nd й the grim-Looking, shriveled—almost mummified—too bre sieve kept tn an upright sarcophagus. He wears a wide-brimmed hat over his long, bedraggled hair .1 nd wears a black shirt, pints, and a belt. Since his soul has fled the body, be*s obedient w the bitter end (one of the doll peopk, by contrast, retains sufficient autonomy to rebel against the priest}. It's said that Sa bud is. afraid of Fire? because it represents the awful, eternal fate that awaits him in hell. Geez— what did he ever do?
Dark Eyes of th; Zombie see
Dawn of the Dead
Dir George A. Romero. РУскЬ Richard Ruhin stern. Virrnpliiy; Ge^rg? A. Romm. Out; Djvtd Е.п-ige, Ken France, SoairH. Rcinigpr, Gayfcn Rdss. Laurel GroBp/lX-iwni Abwciato, 1?7?.
Ronwru waited eleven years before making his s£qnel tv Nig/jf, and pis г when ir seemed the ?nmhie craze had all but died nut, he inaugurated a second otic of even larger proportions with this thoughtful and entertaining social allegory. This zombie outing provides a radical cuntrast to Ntg/?G forsaking austere, black-arid-white horror for a hrighily-colored, gore-packed feature pc rm eared with ,1 wry, sardonic humor and tightly choreographed action sequencer Here the zombie epidemic has spread heynnd control, and society is in the process of total collapse. Isolated groups band together to mouiiE desperate stands. Traffic reporter Stephen (Emge), Fran (Rossi, and SWAT ream soldiers Peter (Fotec) and Roger iReinigrr) flee in a helicopter, jl last a lighting on an abandoned shopping mall complex. Finding the mall still operative and hik'd with supplies^ they manage
Dstm.'h of the DmJ 41
PaSitfJ-on patrons bargain «hep for brain* (and other monel*} in George Romero's influential IXuw erf rhe Dead 11???)-
to empty it of zombies and seal off the entrances. For t tune they enjoy all rhe cornu topic comforts that the consumer wonderland сад offer, struggling to- build a self-contained, rnicrocosmic civilization, before rhe neon Eden is finally penetrated by a band of traveling redneck bikers. The zombies enter and disperse themselves evenly throughout rhe mall once again, as though subject tu laws of gaseous diffusion. Олцдл avoids rhe usual sequel pitfalls by successfully exploring a new range ofsettings and ек Lending the zombie mythos in intriguing ways. The movie was an immediate commercial success, especially in Europe,, where it sparked off a hnsi of imitations starting with Fulci^ Zojwii 2- In fact, Etalon represents a watershed in the evolution of horror film, linking the subdued strains of tallcy Os domestic horror with ihe in-your-face, tongue-in-cheek action of 80s splatter.
Romero's living dead have evolved in appearance and behavior since the first movie. The restrained lethargy of the zombies in Night! gives way to a stiffer, more apoplectic rwitchincss in and the undead are now decidedly mure damaged and decayed. Tom Savini’s dry-skinned zombies have an unmistakable sky-blue tint, matching
44 PflMW п/ tbf Afufflmv__________ ________________
[he parrels of rhe mall decor They are laudably slew and even-paced--ihe unforgettable Hare Krishna zombie takes half the me vie to make it a few hundred yards. tripping over each other and randomly Tiding up and down the escalators, these clue les ч ghouls are humorous asefren as menacing. 1 hey even gti pics =and seluer water in rhe face. But rhe humor is steeped in social commentary; S rep hen surmises rh ar the zombies аге Ы to the mall by “some kind of instinct. Memory. Vthar they used m do. This was an important place in their lives." Th lb they go through [he shadow и pantomime of their former lives, trudging past mimfirs and store displays, picking up change in rhe fountain^ and aimlessly batting a ptiik around with a hockey 5<tick-I’he zombies art cleverly blended with the mannequins abounding in the mall, as well—thus rhe complex teems with glassy stares and detached limbs; human and plastic are «me and [he same.
zLu-rilbir fans Зге reward rd with fresh insights into the nature of the condition. A radio broadcast refers dliprically to “experiments with hallucinogens.,” and notes rhar ^Scientists fear that the creatures funrrion on a subconscious, in^tincEive level/ One such scientist, the almost uihiimanty rational Dr, Millard Rausch, states in a T\ broad etn that the living dead have *l seemingly little or 1Э0 reasoning powei^ but basic skills remain—and more remembered behaviors from normal life.ЬЬ1 These creatures arc nothing but pure, muiurizcd instinct.” Furthermore., Rausch explains that rhe zombies only eat five percent or so of the food available in the human body—riutS why the victim is. soil sufficiently intact, usually, ro rise again and become a zombie. Djhw iki longer refers m the revived corpses as “ghouls," the preferred term in Might. Consistent with the film’s tendency to dehu-itiani-ze the undrad, rhe most common terms in arc “creature” anil ’‘thing.” But Peter, offering a spiritual interpretation of [he apoc-alypse to counierhilance rhe scientific one filling rhe airwaves, suggests the term “zombie’3—rhe only tunc rhe word appears irt the trilogy.
A1 ternate titles- Род trf tbc Living Dead* Zombie, Zombies. I?mr« nf the Living Dead sec /Хлоти of fb₽ Dead
Dawn of the Mummy
Off: Frank Agrantd. FroJ: Frank Agrema. 5cre?wpJa>-i D^ria Pritr, RunjU IJiihrin, Frank Agrama, Story: Ronald Dcbon, Djiia Price. Cajf: Brenda king, harry Siittels, George Peck, John Salvo, ibrahirn Khan, Joan levy.
JJjv tff tire 45
Ellene Feison* Diene Beany, Ali Gubar. На стол у turd J (U.S., Italy, f.gypch 1981,
A mum my-zombie invasion hybrid isn't a ba It-had idea, unless it's burdened by predictable scripting And ипгетлгкяЬк ^s-ting, And backed by an incongruous slasher score (picture frenetic music accompanying low speed mummy chasi? A Team of American models on j photo shoot in Egypt run into mad-as-a-hatier American grave rubber Rick* who is in rhe process, of plundering rhr temh uf cruel Pharaoh Stieraman. They decide to hold sheir shoot io rhe tomb* bur the hear ul the bright lights*—combined with an ancient curse—reanimate the mummy, His 1,1 armies of the undead4* (the ministers and slaves whn were originally bur ied with him) rise shnrdy afterwards^ and members of rhe photo expedition begin disap pea ring rapidly. The mummy and has cannibal undead army converge on rhe local village, Spreading death and mayhem injiscnnilit,Jtuly. The attempt tn bring the mummy mythos up m contemporary horror expectations of violence and gore only has the effect here of robbing the mummy of his sober dignity, and of crippling rhe slasher conceit with a particularly lethargic murderer
There is little interaction and HO visible communiearmn between Sekraman and his zombie minions. The bald zombie slaves emerge from the desert surrounding the tomb, blackened hunde. thrusting up through the sand. They srumble around in diriy shredded tags, their flesh swardiy and glistening. Though they first appear halfway through rhe movie, they really do nothing but stand around* concealed among the rcediand cacti of the oasis, until the invasion scene и rhe end. They enter the town unseen during a public wedding, and when the groom pulls aside a curtain during the cere топу* he finds 1 handful of them noting on bls bride. There arc some nice shots of them climbing out of the sand and then walking across rhe dunes against a glorious desert sunrise, in a scene reminiscent of O<ww ctf the ZntnhicS.
Day of the Dead
Dir: George A. Rnmcro. Frad; Richard P. Ruhmsicm. &T«Mptoy: Gentle Rumerex C*ff; Lori CardПк, Terry AltiMftdec. Joe Pilw, Rkhajd Liberty* Jarlath Conroy, Апшпс DiLeo, Huword Shcniilci, G. Howard khr, John Amplafi. laurel
Romero’s third zombie sortie, though the least popular* iи in many
4ft IXjy of t/л? flfcjd
ЛЦ walks of life siumbk in death m <korge КотетЧ мп dead cross^sccxion nf Атлетка. Besieged prpragnmsi* wifh the S«e hadn’t been left d|Wn m Dfl> of the i)r\id (I'JWS)..
ways the most polished and sophisticated of the trilogy* Horror and йепоп екепгпк arc eclipsed by explorations into the physiology and social psychology uJ the xombics, nnd into the interpersonal relations among humans. The zombie invasion that began in Night and spread шктмя го 11 j. hit in Pjhv/ is all but complete, and Djy focuses on a small handful of survivors who may he rhe only опй left m rhe world. A makeshift scientific outfit led b) Sarah Curd ilk) and Ted । Am pl as i in an underground banker m Florida attempts ro research the zom-hit epidemic, while pressured for results by an unsympathetic military troop.. Helicopter pitot John {Alexander) and radio operator McDermott (C nnroj ) try to way our of the way, hut are increasingly drawn inpn the quarrel as the new leader of the military outfit, Captain Rhodes (Pi,la to), tightens his despotic regime^ On the fringes of sill, the slightly psychotic but eminently likable Or. Logan (Liberty) busies himself with experiments ranging from neurophysiology to behavioral conditioning. The film delves into lLc nature of civilization, encapsulating at rhe microcosmic Ьт1 rhe inability of people to agree on even basic priorities and values, The abstruse inquisitiveness (and in the case of Logan, the inhumanly detached objectivity} of the scientific community fares no better than the brurish lerritumlity and
Alive 47
aggression of the military one.. Only McDermott, who likes ю Jnnk whiskey, and John, who likes to chill, make any sense amidst ihe chaos.
Here rhe zombies are juicier than ever, more vivacious and animalistic than in the earlier movies. They're never called 41 ghouls" or "zombies"—the scientists call them “‘beings’* or “specimens," while the soldiers only refer to г hem with a wide range of rude invectives. Logan determines that the R-complex of the brain core—the prehistoric reptile bra in--is what drives the ghouls even after rhe outer brain has completely eroded- A specimen could function up to 10 cr 12 years, he speculatrs, before decay would threaten mobility. Quire simply, then, the brain begins to rot from the outside in, and the zombie, with increasingly reduced mental capacity, continues to function until the central core his wasted away. Logan tries to condition specimens through controlled positive reinforcement, achieving modest success with a promising pupil he calls “Bub" (5hr rnian), who exhibits unequivocal signs of learning and recollection from his former life. Presented with л scries of objects, Rub tosses aside a tnothbrusih (ir+s probably a bit late for one anyway), but flips through a book curiously, and somewhat clumsily scrapes a razor across his face. Hr enjoys Beethoven’s “Ode to Joy" on a Walkman. and Logan even teaches him ro rasp into л phone, very dryly and imperfectly, “Hello, Aunt Alicia.H Bub’s moment of glory, however, conics at the end when the wryly charismatic zombie chases Captain Rhodes through the corridors ar a pace that is fiendishly—almost knowingly--dоw, leisurely picking away at him with a pistoL
Dead Alive
Djfi P'ctrr Jackin. Prnd: Jtm Rnoth. Sa-feirplayi. Stephen Sinclair, Frances Walsh, Peter Jackson, CctsT: Timothy Bal me, D»MI« Penal ver, Elizibvth Moody, ian Watkin, Stuart Devcttie, Brrnda Kendal Ц Jed Brophy. Wing Nur Fi I mi (New Zealand), 1992.
This Absolutely «ver-rhe-top splatter opera (win New Zealand by talented Kiwi director Jackson bristles with creativity. An evil Sumatran “rat-monkey" bites fussy Vera (Moody I, the over protective mother of elemi Cut hero I ionel (BalmrJ, turning h^i into a cannibal demon whose victims rise again as flesh-eating zombies. Aided by love interest Paquira (Pcnalverh I iond tries to keep rhe escalating epidemic ar bay, finally confronting an entire houseful of infected
IM iTXm^ .4/j'i^
Rcfvurcrful Ч ndc f-esF’ 1.1л n W.irkin) раВ№ fur л Irak in [lie middle »f a funicular]? moist zombie a^jijIt in ike New Zrahnd sptiAECvr classic fXW rtfr'w (L952).
ралудоп. The gurc makes Etil Owd look like	R^-
ttiii, but even m tfa««моеЬмк violence and fountains of blood d»re is вше*. M the movie rakes pokes at cnmnless slasher and splainer movies an J abounds with inside references.
DfjJ jwd Buned1 -H
The demon zombies arc ч»те of the most viscera! on record-gurgling, sputtering, and leaking unwholesome •organ u.' syrups from the seams. One zombie seated at table attempts to eat with a spoon, but inadvertently jama it into hi % month with too much force and runs nr through the back of his head. Only disincmberniem renders them powerless, and only compkte pulverization or burning deani-mates them altogether- Perhaps the movie's greatest contribution to zombie lore is its creative exploration of ways to messily maim and dismember them, including scissors, hedge clippers, a frying pan, chair, meat cleaver, lawn mower, and Cuisinarr. Lionel is die гел/ lawnmower man.
Alternate title; Brsnirdwrf,
Dead and Buried
Dir, Gary A. Sherman. Pro J; Ronald Sbuactt, Robert Fcntreu, Stfemptiy: Ronald Shusett, Dan 0’Bannon. (js/; James J-aгетто, Melody Anderson, Jack Albfriton, Dennis Redfield, I isa Alonnr. Av-th Embassy, 19SI,
This unobiectit mable suspense movie from Gary Sher Tian, whose first film was the outatinditig Rjt1 Afcjj {13 72), is the story of a Mayberry gone awry, Uurof-iowncrs are being murdered in Potters Blutt, and sheriff Dan Gillis (Farentioo) eaii'r get rhe facts. to add up. It rums out that most of the town are tn fact dead (oops, sorry!), and local funeral home director Mr. Dobbs (Albertson) has revived them with rhe black arts (usatanism and vwducistn") and reconstructed their skin with plastic surgery. The townspeople, who hru rally kill strangers for curtimuntty recreation, must come to hitu periodically to have their skin retouched. A Rолстагу’s Baby-style sattmic conspiracy movie, this builds suspense effectively and plays in genuine twist? well, so long as you don’t ask too many questions of rhe every-one-is-iirt-on-it'bur-one person plot. Shuuett reportedly paid О Илл-поп to u нс his name as a co-writcr, though O 'Валnon never wound up contributing to the script.
A significant portion of the population of Potter s Bluff are Dobbs’ cusLoni-nijdu zombies, all of Them clinically dead, 1 hey are explK-irly connected with lhe walking dead cl voudtiu lore, bui as the sdiuoltcachcr tells her class, rhe popular conception of the zombie as slow and mindless i^ a myth. Dobbs explains that they have no1 тс итогу but those he has implanted in them, though he’s also given Dan’s wife Janet (Anderson) emotions and passions, as a special favor to
50 TXr Next Bttur
Dan, The zombie* ire under Dobbs’ control, but he doesn't require anything. from Them other than, that rhe> go about their normal lives. They never age or get sick, and enpy an artifkul beauty that Dobbs finds superior to transient, natural beamy. They only conform to the expectations of zombir behavior in a few i&olated stalking contexts, and even then there is relish rather than emptin-Ms in their expres-$ion, These aren’t especially satisfying as zombies; rhry’re simplv good til’ smaJI-rown, undead citizens who happen to commit group mur-der once in a white.
i be Dead Don Y Die
Drn Cunis HarnngErrtf Prodr Hrnry Colman. Tefepfay; Robert Noch- Cur/: Grorgr Homikcn, LincLi Crisidl, Ray Miitand, Joan Hlondrli, Rjlph Meeker* James MiEachm, Reggie Nalder, Jetry Douglas. Douglas 5. Cramer Pro J ucticwis, J’s1 5.
Though tightly directed and well acted, this niade’fnr-TV, ’40fr-stylc detective picture is nn unlikely setting for post-Romero zombies. Unh moments before innocent Ralph {Douglas} dies зп the electric chair* his brother Don (Hamilton) promise? to find out who framed him. He bciriends schmoozy darti-e duh owner Moss (Mil-land) ae well в* misty Vera (Crista I), who rums out to he s zombie. Don eventually [earns that a crime kingpin called Vanek is a voodoo master rawing rhe dead in an effort to conquer the world. The hor-ror cif T/w De^d Dow? Die doesn't come from its diluted zombies, but from human cruelty that is pointedly graphic fora TV movie. Some highlights include a drawn-out depiction of ;.i man going to the electric chair, including the preliminary scalp shaving; and dance marathon сптрептсю. as haggard is those in They AJjnof Hors», Donf They? (]96£), who are no less Depression-era zombies than Va tick’s corpse?. Scriptwriter Robert Bloch also wrote dip novel Fry-C^O.
Vanek raises hi* army of rhe undead through the worship of Dambullah Awcde, the 1 laitian Lord of the Zombies, and controls them by iremorrwith voodoo dolls. He hopes to ruk the earth by placing his zombie puppets in intirmatiund positions of power. Some have already established rhemsclves in such ipositions* but most ire still waiting in Varick’s deep freeze, Generally the crustj undead walk slowly and evenly, .and don’t say anything, but rebellious Vera, who has managed to free herself from Varidrt control to «оспе extent,
D-c-jJ Heal 51
speaks pcrfccth normally and exhibits л full глпд>е of human ano* nori's. Zombie Ralph also retains а certain degree of autonomy, since he rather predictahiу turns nn his master ar rhe climax. On rhe whole the movie offers a wide range of inconsistent zombie tvpcs and behaviors, intrciduccd jd hoc to make each scene quirky and surprising, hut not unified in a coherent zombie conceptualization.
DeaJ Heat
Dir, Mark Galdblan. Prod: Michael Meltzer, David Helptrn 5сгеечр/ду: Trrry Black. Cosl: Treat Williams, |oe Piscopo, Lindsay l-rost, Darren McGavin, Vincent Pricc, Clare Ktrkcunncli, New World Entertain menu 19ЙЯ
In this flat action-comedy» two wisecracking Los Angeles cops, 'adies* man Roger Mortis (Williams) and boorish partner Doug (Pis-copo), stumble onto a ease involving resurrected corpses comm ini ng crimes. Roger dies and is himself revived, but has only ten huurs to wive the case with Doug before his cells deteriorate completely into goop. The two put a stop io Arthur P; Loudermilk s iPrkc) evil scheme to swindle rich folk our of rheir fortunes, hut Doug dies and becomes a deteriorating zombie too. The pair walk out yukking, it up, presumably to become goop over the fltxt few hours and thus leave the entire cast dead. By the ’80s, horror icon Price found himself in a number of embarrass!ng films (such as this one) beneath his talents, while ex-SNLer Piscopo is always this obnoxious. In one genuinely unnerv* tng scene, chough» all the dead animals and animal sections in a butcher shop come ro life—the cold cuts., chicken parts, and hanging specimens writhing and twitching, horribly.
Fresh corpes revived by I cuidermilk’s machine generally keep their memories and personality, but if the brain has been dead too long the subject only comes hack as a complacent vegetable zombie. This explains why the revived protagonists retain some autonomy and personality, while rhe ugly decaying goons working for villain McNab (McGavin) are mindless thugs. The revived dead <Sbh4 be deanimated. with bullets, hut that doesn’t stop them from blasting <iway ar tach other with automatic weapons for minutes on end anyway. It's conceivable that shooting them in rhe head would work, but no one ever thinks to try it—didn’t any of ihe characters ever see a Romer» movie?
The Dead Next Door
Пт J.R. HutAwaltar. FW; | R. №<>k waller. ктаг'фЬг J R. Btsokwafcr* t Jif: PeiN I rrrji H<<.u.jn ’Dun' Fcliw, Mlchtcl Gnp*M* Jultr Ja-ukun*», Ruben Мкл, Flcyd h*mg Jc, Roger СмЬлп, Maria Marker it, Joo kJ I и ugh. Michael T’*4d, Bill Могпии. Suburban Tempt l nmpanyfAmscO Stu dim, W49.
Heavily indebted to a handful ol zombie davits, moit obvjoudi Djy and Djw *i, and awash with other horror homages, this du>c srnng-budgrt ode to gore irum independent filmmaker JJL Soul waiter ncnrthektf offc« »ome inretettiog variattom on the utuJ themes^ Five years after the unit idhin^ ! jri expertmental virua, юЛ hirt have all Ьш takm over Атте*. I hr population has brm ilrm-ч completely reduced ti refugee survival m a landscape dominated b* I hr rest! ecs ghoul t, although I here are still pro-atwnbie protest era whij picket lot ziimhif nghis m Wjdimgrun4 Law rrifuroemcni agcrucic* hi ir nubtkied "zombie tsquadjs," which drive around in special ял-Hum wagons bearing Zombie Squad insignia, keeking for survivor» and clearing away pockets nl rhe undead. Raimi iherryl aid Ktiller (Jackunsi) travel tn Akron with a special tnam to find the original iormuLa tor the virus ifl Ле hopes of symheviimg an anhdnte. The hnd soenc is ol Raimi—now J zombie him$clf«-clifnbiig into hit patrol W4gun, with the word “aombk" crossed out in "Zombie bquad" and ihc word “burnsп"’ scrawled over h. The movie n>tighter and more ihuughriul than other backward zombie eHurrs of the pericd (such as Zprarhir GopK and hook waiter's script interacts rratcily wi’h other zomhir m^vtre, but 'itarehy acting snd uhwimn рп^Лккгюп Itm-itjtirmv plague the feature throughout, f м/ architect Sam Rairm helped brunet the picture.
Dr Moulaaon (Ptecic) fills in technical derails about lhe rampuit rpiJtmii: ir'v a viriia tlut feeds on the htM, devouring living cells. Then when it mnj <Hit of these cells, and the virus i& rhe only living thing m rhe Ьсн1уь it uses the hm>t а* a slave to procure more livii^g cells as food—hence the литЬю turn s-annibilivtic. ill no food is avail-able, the Viirus is breed to devour itself, ai la st complrtrlv consuming lhe hoit ht»dy m a month or Stn "Ihough rhe medical explanation for ihi rpidr mic к completely recnnceptualiied, rhe BBfflhics follow those of Rumen» to rhr letter [seek human Hr h, tram uni t the Lundr-iion rhruugh wounds, and must be sh<« or hacked in the bad to he Jk'jiiimalt'd). Mt’mcnrs »r note include zombie1! being rounded up
Dnid of Nigbl i 3
□ nd led around with dog. collars and muzzles, a zombie singing the *5tar Spangled Barmer,’* and a decapitated zombie head biting off s,omennc’& finger, only ro have it pass out □ moment later through its open* stumpy neck.
Dead of Night
Dtn Bub Clark. Prod: Bub LlarL Sc weflpJjj- Ahn Ormsby. C«/: Richard Backus, fohn Marky, Lynn Carlin, Anya Ormsby, Henderson Foraythc, Jane Daly, Michad Mazes. Enropix [ntcrnatinnalflmpacr Quadrant Hlms | Canada), H72.
Clark and Ormsby fellow up rheir Children Sfrowfdrt’t I’lfly tvith Dead Things with a mournful anJ nostalgic adaptation of ‘ The Monkey’s Paw.” After being kilted in Vietnam, irritable Andy Brooks  Backus), show’i up back home to greet his grateful bur bewildered family. He has no pulse or heart hear, and in fact he doesn't deny that he's dead—but he doesn’t much like to talk about it either, lie maintains an absolute minimum of surface courtesy and speaks sparingly, until his antisocial behavior deteriorates into violence and savagery. It slowly comes out that he also feeds on the blood of the living, which gives him a fix like heroin. Hr is so openly contcmpruoiis of the “Happy Days" community in which he lives th л he can barely trouble himself to cover up his murders. His family lapses into mid-ness as he sirs in his room all day long in the dark, staring blankly and rocking back and forth with sinister regularity. The final scene in which the decaying, unresponsive zoenhie is dragged along on a double date to a hamburger joint and a drive-in is perfectly delicious. There are sonic raw moments, especially a scene in which he strangles his dog with one hand in the air before a group of horrified chil-drert-Though nut very lively and ultimately anti-rlintactic, the movie sustains a calculated mood of off-centered awkwardness from start to finish, and is buttressed by strong acting and plausible dialogue. Dead of Night was Tom Savini's first make-up assignment, as assistant ro Ormsby.
Andy is half vampire, half zombie—he requires blood fur sustc-пап.ъс, but otherwise stares blankly and feels nothing. 1 hough he looks normal for most of (he film, by the dimax his eyes arc blanched, bis hands and Face have turned, and his head starts dripping ooze as his girlfriend watches aglbast. I Ic is rational however, and can generally reason enough to keep himsdf from getting caught [when he bothers).
54 Tfre ftw J Pit	__ ______________
tn ihe final scene he heads for the graveyard and attempts to bur) himself, apparently desiriria, io he лт rest. Though several zombie movies have Vietnam War associations, this Canadian production offers the inoiir explicit ric-in between zombies and post-traumatic stress disorder
Altcriutc titles:	ТЛс Ntgtaf Andy Came IJowf,
Night WuJfc, The Veferjn..
Dead People *cc Messrs^ of Eft/
The Dead Pit
Din Hrctr Lenn.inJ. CnJ; Girticl Everett Srrctrrptoyi Brett I.etiriirJ, Gitnel Everett. CsJSf; Cheryl Liwson, Dznny Gochnaurr, Steffen Gregory Koster, Jeremy Slate, Joan Bechtel,. Gtha Get/. Cornerstone Production, 1^89.
Leonard's tminvolving psychological horror resets in shock effects and disrupted narrative logic, poured into rhe tried dreamworld and asylum settings of Night mare un Eim StfM and HeUbmtnd. twenty years after his death,, ghostly doctor 4 [itin Ramzi (Gochujuerl s-iill haunts the insane asylum where he once performed gruesome experiments on patients. He especially targets amnesiac heroine Jane Doe (Lawson), who must team up with fellow inmate Christian (Fester) to combat the fiendish aggressor. I he psycho logical horror-drama transforms into a zombie invasion movie For the final third, when Ramzi summons his forma Idchyde-soaked patients from their mass grave (rhe “dead pit") ro wreak vengeance lui the living. Omnipresent Ramzi toys with his victim gloatingly while making clever wisecracks, thus coming acrot*; as л sort of Freddie Kruger or Dr, Channard+ ,1 villain type that was pretty stale b) the late ’80s. I hough сшелгагон graphically correct, this isn’t very inspired in its handling of the Li mil-иг T-irr nid hether theme*. Leonard and Everett went on to create the equally gimmicky The Lawnmower Man (Wl). Best line: “The brain is j parasite.**
Stdl wearing [heir hospital robes, th? pale, wet, and bloody undead follow Ramzi's bidding anJ slaughter anyone they meet, Their frenzied twitching and |erkmg look more like neural hrs ihan anything else, I hey kill by crushing the skull, since what they wain is the brain—w hitкъ curiously enough, they don’t eat, bin simply sic around fondling .ind ad miring with unfailing tascinirion, They nrc momentarily Stunned by gunshots J nd blows to the head, bur only one thing dean 1 mates them permanently; holy water. This leads ru perhaps the only innovative scene in the film, the grandiose climax in which j
I
Deadly fnenj 55
crazed nun iGvtz) blesses an entire water tower, which is then toppled over wnh explosives such that the holy water drenches the entire army uf undead.
T'ihe Dead That Wj/J; see Zombies of Mora-Tan
Deadly Friend
Dir-. Wes Craven. Frad: Robert M. SheraMS. &rerep4*ys Bruce Joel Rubin.
Diana HeiiitflI. OjCt Matthew Laburteaux, Knsty Michael Sharrett, Anne Twomey, Anne Ramsey, Richard Marcus. Wimer Bros. I Pan Aft*/Ijytnn Production , J986,
Wes Cra ven attempts to cross Frcij.iitt'n.rtrjn with Short Circuit and maybe half a dozen other movie types in this yaw ny genre-mongrel uniquely designed to fit no particular audience or mood. Bra।mac Paul Conway Labortcai.iv) resurrects sweetheart Samantha (Swanson), recently killed by her abusive father, by implanting the microprocessor from his annoying robot chum in her head. She spends the rest of the film looking clueless and killing off people she didn’t like m life. The dumb surprise ending is no surprise, coming from sliock-hippy Craven. A screen presence like Herbert West of Re-Awimaror would be required to pull off rhe absurdities attempted here. Despite suffif horror elements and a strange basketball-related death, l he movie still winds up Wing like эн after-school special.
Though robot-zombie Sam follows some simple directions and reacts to situations, she never seems co understand any of them fully, She doesn't answer Paul, but does follow some of his simpler instructions. The main identity tension she struggles with isn’c living vs. dead, bin robot vs. human. In many ways shes simply an .indroid: she opens a padlock by trying every possible combination in Я mat-cer of seconds, for instance, and the point ^of-vicw shots showing her field of vision are digitally discretized (and not with very high rtto-lution, either—she's like the Terminator with “Fong"-level technology)+ On the other hand» she obviously retains many of Sam s memories and former feelings, and nostalgically rubs a silky fabric against her check. Ar the end, the digitized robor-viMon starts to give way to normal perception, as though her human personality is breaking through at last. Actually, this is all far more speculation than, the movie really merits.
Undead Kristy Swanran doesn't sppredstr being kept in her hoyfrttnd’s closet in Wen Crjttnk Drjdly h'riemi (198n|.
Death Corps see Shork Worvs
/Jea/Mram чес Dftjd of Night
Delia T?inr-fe, deKtmnre see The Cemetery ALin
Demoni J
Dir: (. rnhcrcn Lrnzi. ffrjJ- Giiiwppe Gar^iub. Stre^^+Jj'; O^j Khar. Cdift
Damp awr 3 57
Krich Yin Hoven, Jot В ftngh, Sonia < ипн, Phjhp Vturriy» Juliina Ttwira, Маги Alves, Filmakcrs < Г<га1у)n 1991.
I.enzi^ guilty of (ity of the Walking Dead £19Я0), retпгпь i\j the scene of the genre with a sliahih more disciplined* if sitill nor very exciting, Amazon zombie adventure. Taping folkloric music in Brazil, Jessica. Dick, and Kevin come face ш face with rhe inacumbn black magic rampant among the African Brazilian population- When their |ecp break, down deep in the jungle* [hey find shelter .n a nearby plan* cation that suffers from an ancient curse, к stems that six black slaves were t-K ecu ted there a. hundred years earlier fur trying to Act from rheir Gruel master, and now they’re back to slaughter six whites in return. At last Jessica and Kevin burn the predatory undead with Molotov cocktails. Though made in the '9O.st LtnsiS Brazilian odyssey ln<ik* and feels fifteen years earlier Highly charged tensions of глее and class. hover sit the forefront* hut rhe black African slaves are demonized in a largely unreflective manner (they don’t even get their six white victims, after a hundred years of waiting). Despite rhe ride, Dcitfonj J is utterly unrelated tn rhe Argent coproduced movies of Lamberto B.iva.
Visually rhe shackled undead are among rhe finest in the tradition of African 5Live Eutnh-irs (that is to say, they're vaguely better than those m die 15)74 Sugar Hiiti. Their skin glistening with wet dime, rhty*re still dressed in The white cotton work -cloth сь of the plantation fields, and drag around with them the remnants of chains and manacles. They hack at their victims with a host of farm implements* including a machete* knife* hook* hiitni-ач, and sickle. Tlicir eyes are blank and white; occasionally there arr disorienting scenes in winch only the white eyes, can be seen globing in the dark печь, like those of a jungle tit They coordinate their noct urn a! assaults carefully, waiting until characters arc alone and then stealthily surrounding them. Thev lurk patiently in dark curjitrs* and duck quickly behind things тс avoid detection., Abide from diene rather well-developed stracegie skills, the гласит, ba magic affords them some sort of intuitive resource allowing them to locate a specific victim even many miles away. Ilioupih conceptually rich* however, the zombies' screen presentation is undermined repeatedly by the posturing of rhe undead in artificial, stylized poses, holding their weapons out before them at unnatural ingles, as though posing for a photographer. Actually* the slave zombies in Sugar Hili suffer from the MID* problem.
After nite rider Btadt Zombies.
'Т.Н faj-j? for Zpinlm’s_____ ___________
Demons ЧЛ5 see TJbe Cewelery Мдл
ff besierto J? los zombies, ste Otufr of titf Zombies
Diubuliaii br. Voodoo The htereMiy Strange	VFZmi
Stopped Living and Became Mixed-Up Zombies
Dial “Z” for Zombies
(Episode, Tftt! Sjfljpjon£l. OwflkWl Mji( Grijpmfijjn Е^'Гогл Bill Олк-Ley, Ifleh Weinstein, Слп McGrath. №Aorn Dw Cnstrlhnria, Julie Kisner, E^ancy Cartwright, Ytardly Smith, Hink А/.эт. Harry1 Shearer. -МЗгЬ Cen-rury-Fox, 1992.
M.ift Groening’i	which offered a welcome a kef native
to industry sit-coms in rhe early '?0s and opened prime tunc to animation* features a zombie invasion м one of rhe three segments m the third Halloween special- Driven io the library by a class assign-menr, Bart finds a spell book in the hirhertc-unnonced “occult” section. He and Lisa attempt to raise their ex-pct cat 5n.ijwh.il I I, bur acti den rally teani mate all rhe human corpses in the cemetery instead. Lisa yells “Zombies!* but Bart notes that they prefer [o be Lulled rhe “living impaired." Ihe zombies spread and quickly rake over Springfield, while our velkiwish Ьегисч make j break tor the school library to retrieve rhe spell book. Finding rht proper ccunrcr-spdl, Bart sends the fiends back to- their graves. As they stroll hack rn rhe graveyard the zombies chat politely: “Str you in. hell/' and "'Still pushing that boulder?" The final нсепе is a back-to-normaI evening with the Sampsons in front of their TV, mindlessly grunting Jt some idiotic show rhal has them transfixed.
Following Romero, rhe zombies can be killed by destroying the head, and following К^гипт of the Lining Dead* they feast specifier! II j ort brains. Rational grid somewhat articulate, the) stumble around expressing this culinary preference: “Brainsr say they. There are cameos by an undead George 'Vashifl^toci, Einstein, and Shakespeare* but the btsr zombie gag is when Homer turns on rhe c.ir radio and finds the station his been rakr-n over by zombies. The announcer identifies ihe station as "KZMB: all-zombie radio"—and rhen launches into rhe ruLw format, which is the continuous fround of Jow-kcy groaning.
/Jwftp-f ЛЛчиt offttr 3'9
Doctor Hlood*s Coffin
Djfi Sidney J. Риги. Prod: Geiiue 1’tiwler. witptov: Jerry }ur*n_ Jwirn Kdlv, Teter Miller гж Метоп Moore, Hjrrlijourt. bn fkunter, Ktnnrfh J U тттеп,, Peui SfiKPraan C nil зп 1Еп^1*пф, ]9бП,
Though dared and watery in mutt rrspcxb, thi> Hr Irish bio-* medical horror b) Canidian director Pune nflm the hrsr glimpse nF the modern усгггп zombie—decayed and violent, rather than simply pale and aloof Medical student Peter Blor-d iMoorej returns fmin Vienna to his small hocrittnwn in Cornwall, where hr is warmly received by his father Dr. Robert Blond I Hunter J and where he begins to enuiETt his father's nurse I inda iCourtp Linda soon discovers that Prici is performing dandtMtiit! experiments on cadavers in rhe abandoned tin mines underneath a coastal castle, however. He injects people a th the South American paralyzing poison curare» and then later removes the heart while the victim is still alive. Вл rransplanting the living heart into a dead body he can return the corpse ю life, thus hoping to revive great scientists and philosophers ar the expense of useless commoners. Peter tries to iffipreM I mds by resurrecting her husband Stephen {Stockman), wvt rsl years dead—buг Stephen only returns as a mindless /urnhie, attacking Linda and strangling Peter. The relentless attcun score Tries to make lhe movie more evciting than it actually is. The neon hues of early color cincmatography and some gorgeous Coastal Cor-ush scenery help keep the production visually alluring, even as the characters conduct their cliched adventure*
Stephen, the only revived coepw?, is only on-screen for two min-otes, at the movie's climax* I I l ’s humbly ddonipo^ed, with green* sh. Cracked skin, and some sort of unappetizing bright green moss growing all over his face in rhm strips. Upon hemg revived he speaks the name “1 mda," and thus serins to preserve hi* 'former identity, bur when we nevi see htm, standing around meditatively in the mine, he is entirely ipscruTable. Linda objects [hit it's just the “phystal ihdT" that ГгГгг can revive, nw the person, and indeed all Srqihrn does is attack the two indiscriminately. In the struggle, some chemicals are knocked ©ver and а рая seeps out which deanimates hum again. Though the dynamics ol his mental iacultiies arrn+t really iddrested, he is visually powerful—clearly new things are m ihe air for the screen rumbie. Abandoned Cornish tin пился would фт serve as the zombie wttmg m / be FLaRHr о/ the Zoprbiej Ц96&).
<MJ /Jr. ВнйЛя; MJ). ___	__________________________________
Dr. Butcher* MA).
(OriR La rt-jrrjjj dei ыпМг}. Din Marino Girnlami. Prod: Giaulr^uo Cou.yi'iuiTuliiiiiLs Fahrbi-n de Angelis. Sffwrrpfjy: Marino Girolami+ Fabrizio de Angelis. Ctfif: Ian McCulloch, Alexandra Cole (Alexandra delli Colli]* Sherry BucImuki** Peter (TNeaL Donald О'Впап. Fiord Film/Fiuivia Cine-maTogra fira/Gico Cinema rogjralHca f Italy), ИЧ0.
kalian hurrnr movies of the late '70s and early h805 art f^nyous for zombies -iud cannibals; this shabby production offers an idand populated hj both. A rash of missing body part* and. mutilated cadas-егь ar various hospitals puts New York police on rhe track of rimal cannibalism. Police detective Peter Chandler (McCulloch, who also fought zomhiES in Fold's Z'nwib/?? travels to a Southeast Asian archipelago in an il(-defined plan to investigate the suspected cuh. There Chandler and friend I anrie (Colli) are welcomed by local mad scientist Dr. AbrerO (С.У Brian)* stalked by wivagcsx and spooked by rhe gruesome, disfigured zombies who stand about and wander^jmle^ly in the jungle. As with most Italian cannibal films, rhe savages are played by real natives, and preseared with almost unpalatable rad-ism. Some of the gore effects are quite good., but other than ihar the movie is a stock accumulation of £ miliar motifs. The North American release begins with .1 few minutes of added focnage from an и r related NYL project, and was immediately successful shanks to a vigorous advertising campaign.
The tom hits are rive by-products ui Abrcro’s longevity expert-merit ч t rhe bodies left a tier he has removed the brims, The' are sewn-Ltp. patch work rejects, who breathe ike obscene phone callers and occasionally grow-1 a little- Though mostly under the control of AbrefD, they а].ыз e^hihit faint flickers, of internal impulse, which they act upon w uh evident difficulty. Though they never aspire to actions more complicated iliun grabbing ar people, all mall even this is pretty impressive, considering their brains have been surgically removed. Three are deoniniated during the course of the film: one is burned, an other is hacked, and eaten by rhe I un diseri mi n aring) savages, and one has his head pureed by .1 portable out board motor. The romhiM* rule tn 1 he movie is purely passive, since the idnmbah are on fund id du -ill thr killing.
Alternate titles: TAf Ым/ of ibe La»t Zombies^ Queen of the CannibaU^ Zombi Hoiocauft,
Dr. Jekytl'i Мыта see Dr Orbiff'* Mmistef
Dr Sd/JH i'i. if i’ll ft	M
Dr Orloff's Monster
(Ofigr BitfCrMQ rffJ1 Drt Лгг: JtrSiis Franco.	Nirk Frank,
Jesus Franca. CjM/: Agnes Spaafc, lofeph Клх'сп, P₽arl Crisra!,, Раикк 1 ппд, Mike Arnn J, Canid Pliunrr, Hugu Blanco. Сдорсгд№й Cirtenlatogr I Ik зД. Co Films Чрдип , I ¥6,4.
Though ostensibly a sequel to FranocA career-miking The Awful Dr. Ortof 1962k rhis is actually a flavorless retelling with different actors. Suspicious Unde Conrad arid drunkard Acini 1 ngjrid welcome niece Melissa (Speak} to their country mttb where she is surprised to find her long dead father Andros (Blanco} going around killing local women, Conrad has raised him from the grave with ukra sonic waves, dnd kalli women rather indirectI у by giving them nccklaecf containing ultrasonic transmitters, which Andros then homes in on.
Bru ugh 1 hack from the grave and controlled through sound waves, Andros is effectively Con rad's robot. I к keeps a blank expression л nd h as crocked, parchment-like skin, Dopitc the scientific rationale provided for the phenomenon (that his cells are merci} animated in response to the ultrasonic impulses}, he+snot totally devoid of independent volition. He refuses o> harm his daughter	for
instance, and at one point he flees to rhe graveyard to ponder his own tumb with evident ernoriufi. 1 к exhibits superhuman strength, and is immune io bullets—except tor one sprit, the back of his head (and thus, curiously, he anticipates rhe he ad-vu In er ability of Romeros tom-bies by several years). Otherwise, Andres is not particularly interesting, and certainly not frightening— e&pcciaII ly in his turtleneck and evening jacket.
ГгапссЛ movies are generally either boring or deliberately offensive (blending violence and pornography j, so at least this dreary feature is only boring,
Afiernatc titles: Brji/cf 0/ Dr. Jt'kyllt Dr. Jekyll s	Mis-
treses <tf Dr Jekyll, "The 5ccwf 0/ Dr- Or/nff.
Dr Satan tfs. Black Magic
(Ong. Li Dr. SaiMtyid nwgiJ	. Dir: RogelioA. СапкЫск. (Jilt .bnqiim
tnrdero. Ncc Muravjma, $onia Furls, Luz Maria Aguilar, AurorJ CLvd. Bruckner Mexico},. 19Й7.
VbtiM0F unknown in the Stares^ this pricele&scainp thriller from Mexico comes complete with a v atnpirt\ rubber bits, zombie women
62 Dz icjJiirt vs, Alu^ic _______________________________________
in tight sweaters, and а сдгпр-ст by a Dore-like Prince of Darkness. lr> an epic battle between sorcerers. In one corner is Dt. Sauin (Curd его к raised frnm oblivion by the devil to defeat a mortal enemy, with the promise of eternal rest if he's successful In the other, Last Asian J-jp Lin (Murayamaf is n vampire-sureerer (hrncc “Black Magic who has stolen a formula to turn base metals into gold, which the devil also wants. Dr. Satan is the good guy—>at least., more so than rhe insidious and inscrutable Jay Liu—but after numerous misadventures, the two nernews destroy each other. The most delectable scenes are those tn Dr. Satan's secret laboratory, where colored liquids bubble and ОДОке in assorted flasks, and cosmic vibraphone effects emanate from [he electronic equipment. The weird sounds accompany not only mysterious events such as telekinesis, bur evtn simple motions such as pushing button* and mixing chemicals. Winch for mind-boggling script absurdities—such as the police Sergeant Opening a file, after the mysterious murder of л scientist, and finding in л report that Jay I in was “due to rob" the scicurirt s fortmda-
Dr, Satan creates two zombie women by means of ял injection, after which they obey his instrucDons unquestioningly. He keeps them in a pair of coffins, where they sleep with arms folded neatly across their chests. One works part-time as the receptionist in Dr. Satan's office. They don1'! look unusual, other than thru lethargic mjiuiLr and glassy stares, hut they retain nu mciTniries from their lives. They do ^peak, however, calling Dr. Satan "my love4 and politely asking him question* about his day. They stiffer momentary shuck from being stabbed m rhe back, but are basically invulnerable, ] tic two walk together with steps in perfect sync. When Dr. Satan has no further need of them, they J II tearfully say good-bye while violins phyF 1 hey express л Section and Fear of being лра rt from him. bur he assures them they will inert again in the land of shadows, I hen they ear a pinch nt du*?i he gives thrw, and vanish. Among the most primped zombie* in the genre, the two zombeues wear colorful sweaters and perky torprdo bras—rheir miniskirts And sweaters even change from кеа* to scene. The bes i scene is vampire Jay Lin attempting to feed off the dormant zombies, but becoming instantly repulsed to find they are zombies alter biting into their necks: Tm going fo be sicld"
El Dr. Satan у j’u гподы nejjni see Dr. Sdrun i'*, fllack Atagir
The Earth Dies ScrrS3
Don’/ Go m //j£* House
Dir: Joseph Ellison. Prat J: Ellen Hamm i IL ScFttfirpiL/yi Joseph Ellison и Ellen Hammill, Joseph Masefield. Storm Jowph Masefield, Cast: Пап СпгпаМц Robert Osih, Ruth Dardick. Turbine Films, 19Я0.
Shy mama's boy Donny (Grimaldi) brings home unwitting women whom he strips and bums to death in л custom-made^ j hi mi num-sided room. Ar tan rhe charred corpus of his victims, which he keeps sitting around in chairs wearing prerrv dresses, rise against him. Their blackened, hairless bodies form a grotesque contrast with the Ellie-Mae dresses they wear, as they walk slowly across the room toward him and gruffly utter pleasantries like 11 Wc hale you.’* They're only animated tor a few moments before lhe house catches fire and they alt fry.
Пол*/ Open the Window sec Let	Corpses L ie
Dracula and the Seven Golden Vampires see i he Legend of the Seven Golden Vampires
Drums of the Jungle see Ошкдо
,..E tu vivrai net terror? IJdldib see Ebe WeyonJ
Тйе Earth Dies Screaming
Dir. Terence Fisher. Prthd; Robert Lippert, Jack Parsons. Srn?CTip/dyi Hcitry Cross (Harry Spaldi ng J. СмЬ Willard Parker, Virginia Field. Dennis Price* Thurlry wjrers, Vanda Gndsell, David Spenser, Anna Falk. I ippert Films [England)* 1964.
You can't re IJ from this spirited and mostly harmless apocalypse that director Fisher (better known for his work at Hammer Studios) reportedly hated science-betion. Robots from outer spare with potatoes in vacuum-tube* for heads use gas warfare io wipe our all human and animal life on earth, save only a handful of people who happen to have been in airtight shelters or oxygen masks at the time of invasion. The robots rcammate certain cadavers to help them track down the few remaining survivors, but the moseying marauders hardly present a threat to nimble, turtleneck-sport mg protagonist Jeff Nolan (Parker) and his rag tag, fugitive band of panicky halfwits. I Hiding that the robots arc controlled by sonic waves, the heroes summarily defeat them by blowing up thrir poorly guarded broadcasting rawer. The hour-long, ta^t-p^ced production rewards rhe viewer with scenes of darling Tudor cottages in rustic English villages, contrasted
M Erotic Nights of ffeg Lri^nrg IVW
dtlightiulflу with the clunky, аЫтшшп foil robot* ambling through the sirtrb like tourists Along with ftti jsthir Invadfrti The Birds* and lhe l.asf JVLifl cut Ldrffi, ТЬе Earth Dies Screaming U an obvious pre cursor cl Night nf the I jnfljj Dead.
Пи robol invaders' abihty for desire) iv resurrect human cadai егч as shvidi miniuns is an odd touch погг folly г к plain rd. A «kep-cital character surmises that the victims aren't really dead, hut ofih suffer from suspended к kJ у foncrions | since they hLcd and can he killed by gunfire h B“t by 1Vfi4 thafs a lirtk like saying "Ceci nVti pasunc pipe": thrwr fiends plod forward stiffly and пнъг rarnbevejudL devoid of mind, intelligence, or emoficmal response; and there** no it «чтя к hi s their cold, grey eyrs lacking pupils or expretriom ii>o bad they’re no more effective a^aibnts than their т^^шрети'пг ruhoti overlords.
Erotic Nights of the Living Dead
(orig. Le Hixfi wirfiihe morfi pitvafiji. fhr: Arolidc Mamacttvi. Gue Laura ОсшьсГф George hasinxiru Dirut Hunan. Mirk ihinnuri. Sitfana il r]i-i-(Italy), W79.
Sexploitation director M нъассем weaves a tiresome tale of end 1ня гпшапПс слсардскч capped nfl with a riftecn minute undtad imra мои in this questктяЬк Spaghetti Zombie. Hotel surveyor John ikon (Shannon) аечтитр^пге^ paid гяспгг Нона (Funari) and hired yacht pilot I trry O'Hara il Jscinain to rhe locally ch untied bland <M the C at, w here they confront а тучгегюи* narire couple and an arm* of hoatik eombie*. Mauslcxrsi seemi io cunhise “eroriatm” with abundant sex^and. bt^ide*, that, the entire concept nl combining яд-пс-. oi lovemaking with a loenbit tnas&acre prnuppene* a wrange sort rd mood ri begin with. Iliere are fteenng топкпгч of talent, boweveg especiall y in ihr ri bual cooceptua laarion of the zombies and the me» merizing invasion sequence. uhKh is scnsiuiu^ in it4 own apocalyp tic sort of w.iy. Funmnt scene: surrounded by the cannibal zombie^ who threaten to rend diem ro picxes and devout them at any mm m. I am' warns Fiona to watch out because they probably tarry all sori al diseases.
The sornbieii were oner the island's luckless inhihiT.inre, all tilled by an earihquake and an epidemic. Guarded by а шange nativc woman and a demon cat (whose епплеепгт with (ire lombres Й ncvci satisfactorily addressedh they now rise at night from their ihjlfow.
J irJlr+J 65
sandy grjvrs. liiiriguirtgh tnnugh, the» dusty natives, fully ®vertd m 1плц_ Iochc robes, are dirtied more like тинпацк pf the Sahara chan I 4ribbcan islanders. Halt^earerr from disejse as wel ai decay. the cloaked undead nnisrlculy stalk I heir prey through rhe palms of the tropical s£i«mt, to bitr them in the jugular But they are iinifn-preмPi. aibdjlailtikj easily dispjtched hv ’илпц impaled, deeJiphtjitrd, •я burned; and they also inm jv-ay whrn run fronted with * рготт-с-uve amuleL lly effective are the shuii of th mi standing mutiun-Irvs rm the coast, their rubes. Miming in the vvmd along with iht! palm leaves and ferns, я* well as thr prolonged chjse scene ar the climax, i« which rhey emerge 1mm every direction leven rising our of ihe sea ir^rlH, accompanied bv j hypnohe choriM and пупгЬечгег wore
Ahemate rides; Island uf the Zombiei^ Night of the Zombiet* La n iffc di4 фоячЫж J j rrntte rrnncFr Jrr morn mvnfi, Лету Nr^bts of fbe Dead.
H Esp^ntn jurge J.e £j fkffiba1 vtr Humr Rises frum the ГимЬ
Л?е FuJ/ t>f the Hotut afUfbrr see Zombie 5r KrwwRe uf the Huksr of Vihtr
The Fear sec The Gafer of Hell
tear in tbe Cify uf tire Ltuing Dead see The tiatn of HM
The Fiend with lie Arumir /гглгя sec Bfixjd of Ghditly Ham л
the f tend uifh the Synthetic Вг^т see Biwtd of Gh^itlyHvtrw
fm de temana para Ise maertoe ^rt Iff Sleeping t orpses lie
Flesheater
Dirz Dill Hinzman- Frad: Bill Hinzman. ^.тгЕирЬгу; Bill Hinaman, Bill Ran drtlph Srtiry: bill Hmrman. Oir Bill Himman, John Мои nod. Leslie Aim иск. knm KindlirL, )лтн |, Rytan, Denwr Мш-ппнк, t hub Kirkpatrick fcktttt, Lisa Smith, Mark Str^ula. IUk BiOnck. H fc G Fl>m.l>lutznu& IPtt, Jucl'iOO. 14 B«.
Bill Hinfman, the unfor gel table cemetery ghoul U&d cine-nuimgr_ipher) in the uriginal МдеМ,. thinks that his ппг-w hr pan t|uali*es him to make a zuiiihc movie uf his own. In thu reworking nf Romtro's cb«si€i Л group of college ktcfc in rural Pennsvhania hr.id for the woods un a hayndc 0<W Halloween niphr br some good । imps Л nearby farmer accidentally unearths a coffin covered with
66 J rig
rusting lock s, j penbinglc, and an insert ptioo reading, This eve which will шке flesh and blood from thee and turn all ye unto evil" (baleful times arc l>est foreboded by chillingly irtcomplere sentences I gather). The ghoul “Flesheater' (Нкшщо, appearing much u be did in Nfgta) pops out of the coffin tn spark hU the men rah] г zombie Armageddon. Zombies chase and idiot* fleet _i.n.ril a bun is burned to the ground for rhe finale. While the even-tempo, nosialgk piano icpne by Erica Portnoy complements the rrmiimtijJ autumn .ird-^jpr, it doesn't do much for escalating chase and arrack defies. Amateur juvenile, jtid depressing* hltihedter ii rnosrh a v*35te of a good. barm. Aging Hinzman transparently casts himself groping naked women. Though there’s no narrative tie-in with the events in Nighty rhe ghouls here don't deviate substantially trom Romero's concepruaJizarioni they feed on rhe flesh oHhe lit mg. едл only be dtanim a red by being shut in the head, and transfer their necraanimatc condition re their victims. Hinzman down for a tew moments when bludgeoned wuh a large stick* bur otherwise the ghouls sb iw little response to damage. The zombies here are more keen cm weapons than those in Ntgbi, though: they kill with a pitchfork and л hatchet, and onu usr* a hook to drag a woman scurrying up a ladder back down та h im. by her calf. Ouch!
Alternate rules- Revenge of the Uvtng / «т> ws, Z-r mbte No$h.
The Tog
Dtn John Carpenter, {'rod: Debra Hill. Sercenpbyr jofaa Carpeotet, Debra Hill. Catt: Adn&nne Barbeau, Jamie Lee Cums. Janet Leigh. Tom Adems, Hal Holbrook, John Houseman, Rob Bonm. A*co-Embe«r Picnurrs» 1979,
Carpenter and Hill* who inaugurated an cnnrr era ot dasher film* in 197B with Halloween, downplay violence for suspense dgain jh this mournful ghost story. Sleepy coastal Lal fomja rnwn Anc&-nic Bay celebrates its hundredth MuiiversaiEy, onh io nnd itself mtn aced by a wind-defying fog that comes m from rhe sea and conceals a mvvtrrious troupe of hook*M ielding wraiths. It appears the town’s forefathers treacherously engineered rhe wreck nf a shipload ci leper ч to ohtnm their gold, and now rhe oumgy manners are back to exact .revenge. I he events are helplessly narrated from a lighthouse hy a radio broadcaster ВлгЬсди , while л seaman (Atkins) and a drifter iCurtisJ drive around in circles. The scene* ul The ominous fog nil ling into the desob re bay area are scanning* sad the stark film
ТАг |ч>ц|г	of JondfI’4W Hrdte 67
refuses to cushion rhe gres lonely atmosphere it creates, even at the end. Best hue, from Janue Lee Curtis. "Things seem to happen to me. Гт had luck/
The sea wraiths are called ^ghosts" in rhe credits, and exhibit some amorphous traits such as appearing an J disappearing, hut bast-call) they're zombies: they have to besiege buildings from die outside, and must break into them through rhe doors and windows.. Lepers to begin with, after dying horribly and then spending л century underwater, rhe vengeful marauders don’t half look ugly: they're claggy, mottled, and bulbous beyond recognition. Uns pea king, yet malign and knowing, the unwholesome visitors wield a variety of sharp and heinous dock implements. Awesome Blake (Butrin- «itesils the show as the silent, dark silhouette with glowing red: eyes, still bent on raking his now useless gold back co his watery grave with him.
ТЪг Fowr Skulls of Jonathan Drake
JMr Edward L.. Cahn, frrid: Robert E. Kent. SirFfMipJcry: Orville H. Haiflp-(mi. Cd4^ tduard Franz, Malerie French, Cjirant Richards, Henry DanielL Paul Wexler, Lumsden Hare, Howard Wendtll, Paul Cavanaugh. Vogue Pic-turrs/United Artism», 1959.
Like Ed Wood, Fdward Cahn consistently buttresses his hackneyed plots with minute attention to the conceptual background дпе! supporting mythology, which keeps his movies entertaining so long as you don't try to lit H all together too closely. Jonathan Drake (Franz) fears for his skull, which immortal mad scientist Emile Zurich (Daniell) covets for his Drake family skull collection. Police Lt. Rowan (Richard*) pieces together rhe unspeakable truth: Zurich, who factually the head of .1 white Juan sewn onto the hody of a Jiv.iro Indian, hi* spent rhe last two centuries getting back at the Drakes for wiping out his tribe in the Amazon jungle. Zurich is thus an abomination who physically embodies the awkward blend of native Indian and European, while hie undead Indian slave Zutai (Wexler), whose lips are sewn shut, is a walking parable ol the silenced and subservient New World native.
Zurich may be a sort of Frankenstein monster composed of pam, but his assistant Zurai is more enigmatic and compelling» I he minister South American native has long, black hair and wears a tunic and sandak made of human skin. The reason his mouth is sewn shut is
6 S FnjjnAwfljfwH island
t« short? hi-, conrempr for food and air, and rhe long threads trai down several inches past his chin. His job is basically to extract and rote around skulk, for which purpose he carries a wicker basket and spends a lot of time hiding in bushes. 7 hough f ul I у sentient and l motive as far as we сэп re IL hF doesn't exhibit any volition independently of Zurich's orders. Curiously, though, he does explode when kicked into a fire,
Frankenstein Island
f>ir; Jerry Warren, frodt J trey Warren. Scr^-enpiayi Jaques LaCouter. СкиЛ Robert Clarke, Steve Brudte, Robert Christopher, Tain Bodkin, Pa crick ti’Mfih Andrew Dianin., Caincroei Mitchell C hr is war, 19 SI.
Vtarren’s incredible remake of hrs own earlier	Zowi/jjfs
is a ludicrous mishmash of ran Joni elements, lovingly stirred into a burgoo of cinematic insanity. OK. where ro start ,.. Four men in a hut-air balloon arc: blown duwit to sea., finally drifting, io an island in a lite rah. There they are taken in by a friendly tribe ot young Amazon women in Iropard-skin bikinis, and run into Sheila Fraflkensrein (the famous doctor's greaD-granddauglitert, who is keeping alive her 200 year-olld husband Dr; Von Ih'lsing by draining blood From an imprisoned sea captain who thinks he’s Edgar Allan Poe. Oh, yeah— and it also turns our rhar rhe island was once 'rhe- Ijnilnv $.ite for members of a superior alien species, and that rhe ghost of the real Dr. Frankenstein (superimposed clips of |ohn CarradineJ is still in touch with Sheila, from beyond. With an unwieldy Gatling gun, the heroes preposterously storm the labnmiory, and its odd, drone-like sen men guards. The villains respond by unleashing rhe uriginal Frankenstein monstei; who (it ata turns o-urj has been chained up in an underwater grnno on the bland all these years and who d&ctn4 seem ГсгггЫу dear which side he's supposed lo be- on. The monster and the drones are all powered by a disembodied brain in a vat, and they fall tn the ground lifck-ihly when the brain is knocked wet. But there's a backup Нглш elsewhere that will kick m shortly land I'm not making this mpij during which pausfi the balloonists escape. Ills all indescribably1 silly. 1 hough apparently made in I9SI, rhe film texture, coloring, and scripting seem more like rhe ’60s.
Hie drone servants are rhe crewmen of j ship th,it crashed near rhe island, who have been reprogram med by Sheila and Von Hdsing to serve as sleepless guards and generd lackey. The stooping half-wits
FiTUZCJI VrrrtfFN 69
wear black shirts and JexT-worker caps, and occasionally growl io. a low voice. They hive no blood stream» bin run on pure йpsychic energy,' and consequently are impervious to bullets and bleeding’ related injuries. They ’re said to be sensitive to Li’ht and thus have to wear dark glasses (as in 5/iorfc Waues, 1977}, though nothing i& ever done with this carefully seated vulnerability. Some are forebodingly said to be "less predictable than others, bur nothing is made of that ei liter. The drones engage in boxing and karate matches in their apace time, hut lIily LI need a lor more practice—in rhe final brawl, the dainty Amazon women and halfhearted protagonists t.ike them on without any trouble.
From the Dead of Night
£)w; Paul \Ч'сл Jkos-.. TiejkpJayi William Bleich..	ricu^i: Gan Brand’
пег CdJh Lindsay Wagner, Bruce Bcraletiner, Kobin Thomas, Roben Prosky. Phoenix EnrenainnienE Group, 19R9,
Another variation on the Carnival o/Scui/s theme, chi* drowy made-for- TV commodity is slightly less interesting than the very similar We Swrviwr (19U2). Fashion designer Joanna (Lindsay Wagner i.k.a, Jaime Sommers) ha*, a neat-death experience, encountering six shadowy figures on her spiritual journey through rht obligatory light drenched tunnel tu the afrerlifo Resuscitated гпезпиепгь htcr, she finds herself £iibseqi*ently stalked by six '"walkers1*—corpses who come back tu life in order to rerLiirn her. The continuous attention to Joanna’? high’schoulish fdariomhip troubles doesn’t help the pace any, while the occaciooai л huts in slow-motion keep you expecting the bionic creaking sound to kick in.
The six иwalkers” are blanched,, bloody, and Kent on Joanna’s destruction. Onl? her avuncular physician, rrcognizeb her and resists the urge to kill her when lie returns as a 7omhie. The undead can be deanimated permanently so lang M they ere killed violently the secund rime (car Crash, sucked into Imai propeller, etc,], 1 he actual appearances of rhe zombies only total .i few minute* of screen time, however. Apparently disembodied spirits wear business suits.
Frozen Scream
l)jr- Frank Roach, frodr Renee Hannon. Hcnvnpiny. Doufi Ferrin., Michael Soncy, Сейме Hammimd. Stchrjr; Renct Harmon. Doug Ferrin. Qjsri Renee
7(J Симлы
Hjrmtir. Lynne Kocol, Wolf Muscr, ТКппл* Gawcn, Wjjmr Litbmiirl, l ee Jojurs,, 5 папу Barrliokimtw, Bill Oliver, Bob Jtochrilr. Clara, ]9fi£|.
This dismal and homely backyard effort features robotic acting, abrupt transitions, and annoying “Wander Years Mike voice-over narration.' Police Sgt, Kevin McGuire (Gowen) reams up with ex-fiancee Ann (Kocdl co investigate two evil doctors, whose experiments m immortality invoke turning medical students into zombies. People run around a lot in poorly-lit hal ways, while rhe movie embodies its primary rheme of immortality by refusing ro end.
The uninteresting mad doctors simulate immortality by reducing rhe’ patients' life functions to death or nenr-dearh levels, and rhen reviving them at a lower body temperature. However, Lbr paiicnts' personalities are altered in rhe process, such that they wind up “altered, diffused—almost soulless." Thcy*rc kept in cold storage when nrii nut on some killing errand, rhezombu s wear black hooded cloaks [hat isscciare [hem with a certain prc-Christiin immortality cult and cheesy moustaches that associate them with rhe ’70s,
Gamma 693
Dto Joel Mr JfeatL РгоЛ Lorin И, Price. Scrttmplayt Joel M- Reed. Cw£ Jamie Gillis, Kvan Hilliard, Samantha Grey, Run Armst rung, I uni Ku hi, Alphonse DeNobte. NMD him Distribution, 1981
The Nazi zombie (hitherto sighted in Sb&ck Waxws and Zombie Laki1} finally tvolvet sufficiently to leave the water, taking to the snowy Alps in This confused and over-onmplicared zombie inratioa detective movie. Tough CIA agent Nick Monroe (Gillis) teams up with geeky scientist Clarence (Hilliard} to locate some missing can-nbrers of the experimental World Warn gnя Gamma 693+ In rhe brisk Bavarian highlands, Nick finds both Aincrican and German zombie troops sritl fighting rFie war. turned into immortal cannibals by their exposure to Gamma 693, the soldiers plan to spread their own kind across the globe while breeding mortal!» for faddc-L Stock footage о I Geriiurt tanks, plowing through a sntiwy lindbcdpe caps off the him. t he low-budget monstrosity features bad sound and hghring and uneven pacing, and fails to generate sympathy for either protagoinis,t& or zombies.
The Nazi zombies лрргяг young, healthy men when thrj get 'their daily ration of Gamma 693, but if they miss ir, they deteriorate into ghastly white spectres with dark eyes nnd misty strip* of wattle
(rrfrtitrt uf гЖт Dm J 71
peciinp, from their faces. They silently stalk through the wimr) nighr-rime mountains, rifles in hand, trying to stay mcnmpicuuus hut occa. siona.ll у shooting the odd trespasser. Simply out ol boredom, the undead soldiers spend their nights conducting military exercises,, filling the skid» with heavy artillery firefn much for staying inconspicuous^ They feed on human bodies* raw or cooked,, and have even starred a human stock farm with some captive villagers. On the whole, die zombie portrayals are sadly disappointing—their unaltered personal* nits сидке them little more than very ugly soldiers, juJ the exciting visual possibilities of the snow-covered mountain landscapes remain mostly un expl tilted.
Alternate tides:	of the Wehrmacht Zombies,, Night и/ the
Zombt£$t Night of the Zombies II.
Garden of the Dead
Drr Johni Науя. PrmJ; H-A- Milton.	Jiihli ,|nn- ?, Phil hem-
ffii-dy, Duncan VkLoiid, Juhn Dulhj^ixn, John Dennis,, Marfa.nd Proctor, I^P Frosh. Clover. 1572,
This scruffy low-budget production а и tielipa res die pointless and depressing amateur zombie mervics of the early b50s by almost twenty уеягёь Prisoners who arc forced to tabor at the Camp Hoover low-security formaldehyde processing camp make their toils s-rcm less weariiuinc by sniffing the lor tn aldehyde vapors. A handful of them are shot during an attempted prison break, and come back to life plenty ugly and nine kind*, of mad after f-u rm aldehyde soaks into the ground of their $h a lbw. unmarked graves. They run around rhe prison compound killing at random until resourceful Sgt* Dublonsky ar last traps them using a woman as decoy. Backed by an anachronistic '60s jazz score, the spartan feature is. lonely and humorless.
The revived chain gang c-ons have dark, sunken eyes and wear the camp atandird issue,, blue shirr and jeaikSi. They rc a little starchy when first emerging from rhe ground, bur quickly regain their speed and agility—thus rhey run, sneak, dodge, and hide as they besiege rht prison compound. In fact, their favorite attack is a rather complicated, sprint and pidc-аэсе swing technique. They go around growlingin low voices, only speaking a few brief phrases with difficulty. Braddock, the leader of these makeshift Hogan's Heroes of the Dead, summer-ily announces will desrrny the 1йвдГ They’re fairly гвшвкйГ Ю bullets, bur go down when blasted with a shotgun де close range.

72 ihf о/НеЯ__________________	_ _
Mure interestingly, they’re a ho desitoyed by light: ont collapses, instantly deaientes, ял-d froths .it rhe mourh from having з spotlight trained on him, There4 ни indication that in у <if thii is tongue i lichee k but it’s awfully hard to rake the undemd inmates seriously as they go around growling like bad pirate i трети ria tors the whole rime+
Alter date title: Tomb of th? UnJcaJ.
The Gates of Hell
(Orig- F^urj Hfllia cinj Ju murti wwitfj Djr Lucio Fuki. PfuJ: Giovanni Massini. ScrfiEnpJjy: Luchj Fuki, Dardane Saccheiti- Caif: Christopher George, Katherine MacGoll, Garin DeMcio, Anisonella InEeden^hi, John МпттйЬеп, Daniela Ooria. Dini-n FilirJMcdu^d/lnEernAliiOnal Cinctnarogratif л (Italy , |9»0.
The second of I ukii zombie cycle, this is less of a coherent zombie-invasion story than a loose col lection of gratuitous shocks and KrtHtionalirtic horror images, By hanging himself, a priest unlocks я portal io hell in rhe New (England town of Dunwich, built on rhe site of the “original’’ town of Salem. During a seance the danger is revealed to Mary (МасСйНЬ who sets out for Dunwich from Nev York City accompanied by a reporter (George). They have until All Saints' Da г tti desire у rhe priest'ь body, Mary believes, or else all the dead will rise and rain destruction upon humankind In rhe mean-tinie, those that hive already rtsen git ahead and warm up, murdering at random and capriciously terrorizing the Incak. There are some memorable shocks and creative stylistic toidcbeu, but Ln terms of zombie consistency and development, this is the least satisfying of Fulci's zombie repertoire.
The movements an J motives o! the living dead aren't really espla int'dt other than that they wish cu spread evil generally. They arc unleashed by the power of rhe ancient BooJt uf Enoch, an early Jewish apocalyptic text th it doesift actually provide instructions far raiding the dead or sparking Armaggedun ш most modern editions. These zombies (actually more like ghosts} can teleport, which they often du fur up apparent reason. They seem to be cannibaJistic—a zombie is certainly chewing on a victim’s corpse at one point—but this isn't consistciitly sustained. One zurnhic is deanimated by being tabbed through the mniach with i meta) pole; the others combust jipontanenusly when the priest is killed. Rut the zombies represent
1 be Gbojf JJrcu&rn 73
only one oi the n nine! mu & evil гпялiTesta twos accompanying the Enoch i an curse, another of which is ihe sudden bursting open of rhe windows fol lowed by a swarm of grubs penning incu die room, entering the four protagonists and carpetinp, the floor. Fuki notes in ял interviewj “It wgs not easy; actors would not quire accept all those worms stuck un rheir fates—we used thousands of them, over twenty pound'd*
Alternate titles: City uf the Dead, City of the Living Dejif, J be Fetfr, Fear pi the City o f the Living Dead, Twilight о/ the Dead,
The Ghost Breakers
Dv Grorgp Marshall* Prod: Arrhut Hom blow Jr. .‘Srr^rnp'/jay: Walter Del.ran. Orfgiwd P/dy; Paul Dickey, Charies Gtxldard. Catl: Bob Hope, Paulcrte Goddard, Richard Carhcni, VauJ Lukas,, Vi illit lk>l. Pedro De Cof’ doha, Virginia Bri£&au Noble Johnson. Pdf amount Ficrurus. 1У40.
This is considered to be among Bob Hope‘s finest pictures, anJ the direction is smooth and rhe lines delivered flawlessly, hut black actor Willie Besr4 jokes about tried chicken are no longer funny, and МпвтШу Hope isnrt funny to begin with. Radio personality Larry (Hupei and his valet Alex (Best! accompany recent acquaintance Mary Carter (Goddard) to visit hcr newly- inherited haumed castle Oft Black I Ja.tad off the coast of Cuba. A me dry assortment of secondary char-acrers provides suspects for rhe ghastly happenings ar the castle; someone is obviously trying to scare them away from, what turns out to be a silver mine underneath the cattle. The ghost of long-dead >lave-lond Don Sebasrinn, a native zombi?, з nd other spooks keep the hemes shaking until cowardly Alex accidentally takes out the villain by pusb Ing the wrong button and springing n trap. All right gang* back to the Mystery Machine for some rooby-racks. Th# Chost Breakers was the first attempt to integrate the zombie into л comic rather than straight horror script, thus serting the general tone for the wartime zombie movies to Fed low. The movie was remade in 1951 with Dean Manin and Jerry 1лчЬ as Scared Saif-
Silent screen star Noble Johnsen plays rhe ba hi and slightly disfigured zombie who guards the ancient castle From intruders. A Inc.U Havana man explains, “A zombie has no will of his own. You кет [hem sonic tirnrS). walking a mu nd blindly,, with dead eyes—following orders, not knowing what they do„ not Caring/ But this zombie hib to make all sorts of decisions; he hears cithers coming while
74 J GAnsi	__________________ ____
Silent screen star Nrthk Juhnvon, two years before the end af his career playii a pensive African-Cuban zombie oppn^itr Bub Mope in Tfrr Ghoii Hraakrn (1'940A pioneer in the early film industry, Johnson fomied the ArH all black moiton picture cumрллу ш 1Ч1от which con^iirenlly pntCrjYed Мгклл-Ахпегцапя as competent and irndligeni ia vision cnmplereh Subvened in i'jhr G^№f Wrfjtt'rilx
Tike	Zombie Chef from (fell 7$
he’s chasing Mary, and opes to climb irnc a suir of plate armor rather than continue following her. Then he'i (regrettablyJ interrupted from braining Hope with a huge mace by rhe sight nf Mary dressed to the nines. Not only fe the zombie able to weigh factors and de liberate,, then, hut this is even his downfall: he spend* ™ tang jusr standing around, giving Larry a nd A lex enough time io sniff him in a closet. Though chr zombie scene is brief and tangential, it's easily rhe most memorable of the film.
GLcxsf Bhgjde sec The Lost Brigade
The Ghost Galleon see Horror of the Zombies
Ghost Ship o f the Blind Dead see Horror of the Zombies
Ginseng King
Dtr. Rorar Ru-Tat (Thailand), 1?33.
tn this obscure j,nd psychotk La it Asian fairy ulcT a Nazi zombie (called a ^hopping corpse4। comes to life when a whisker from the thousand-year-old Ginseng King, the ancestor of all the impish ginseng roots that frolic in the forest falls on his grave. 1 hr raging, blood sucking zombie bumps into trees and other objects, continuously raising Ы* arm in salute and addressing the inanimate obstacles with a hearty *Hcil Hitlerl” The fanged menace becomes supercharged after drinking ginseng broth, until ht is momentarily stopped by the sight of я swastika on a BuddhistA sidebagT and is finally destroyed by being lured into a minefield. A very strange zombie in a very strange movie.
The Gore-met Zombie Chef from Hell
Din Don Swan. Prodt Don Swam. Sereenpiay. Dun Swan. Jeff BaughП, William Highsmith- QjiJ: Theo Dcpway* Kelley Kuriicki, C. W. Casey, Michael 0’XeilL, Jeff Baughn.. Swanfilms, HBo.
Too low-budget to appear in most reference works* this sketchy camp feature runs on fumes the entire time with the possible сксср-ripn of a few good lines. In 1.1S6, Goza (Depuay), a priest о fthc Holy Order of Righteous Brothers, is convicted of high treason by his brethren and cursed with eternal life, I he curse is that he cannot die, hut must consume human llesh drily to keep from decaying horribly,
7Ъ	Zomfrtff
5u	регл htec Gou ts still ял evil and powerfal waetvck.
but нёнг hr *жпа a «cdy bar and grill called “Gold’s Deb and (_^1/ Ц aft iXc i J £jf M> 15S!5I3Dt В1ШОГ (О Neill J, isdjf.'. t Г _/L_T w Jri да r- -n rhe HnL Ord^r, Goza dismember* cusromet* w --P’_ ft rj зшп11 a&tl lervit* Ihs Leftovers to other £jjsumneri. At Last the жж&аоок0^1 hfig-prophesied High P riearesumves rocmnbsrrhr gtoaltufe EnCrepncseux Sbe exclaims, '‘Gosa—you have lost due br tag foda^g.* as sht arts off a nail gun repeaiedly into die sol» of b* teetu The Bfi ihzsu <м л. great deal of meta physical tnnsnxsg oob*r -гаэо^Еуж oddh with its amateur production values. Mtspw*i < Gtku £пст to ciay b® «Ь tike Lugosi, but k’s hard to uke him ji i ir^lT я ->н ш-idc iFTdv «и Hawaiian shins.
Gmi drSfksn hmriail flesh., but is driven to rat it—this в b*i r* .: dijfLc. Ht£: awsdifterly at body patti* utelirpreparest" *:r is i тюгт ir г fihet iuch as slicing thrni in his deii-dicer rr frj+t a £qM*cb! «ашЬйсЬ. The capable and conversant chef is not reafly a ^ZQVbHt,"' rmxprthji when he doesn’t jet his daily human rle^L, br Ji.txc .ttr md икса cn a гоСпЫс-lilKe apprafancc aprnr bro ceH’-’wrt “Are you rure you should be 'erring for г ч-^t that ъкй ал*^лк<1?*‘. Some designs don such as и ancient ЕттчогСа"! ratabll dtsBCfl torccrcr" would technically be more меппгк duo ^zoratef." Ьш ondcrsu^dably the title was getting too loog ai n wn Gratw At	«t Night Life
T7 ' Сям г fk* Living Dtf crd see Од*« of ihr Zomhies
Grin KjHgfa ие Tbt Lon HrigaJr
The /f Vb№»T see Rtfum of the Zotnbtes
fiard Rock Zombies
Drz Кпяп ^ifahi Prtiiii Krishna Shih. SerecKpiayi Krishna Shah, Офн! Ен**ь. _t!t I f ^^епо AfitJrrws. Sam Mann, Мтск \(дг? 'г *“ ,йи Qut^Ted PiTttShah Film Cota рапу* 1984.
AcheoirT KJ5&Hnipenanaring band led by Jessr I Curcio.- raotrwii а ром яекымж m prudish Grand GuignoL California, To hegm wrefr. at»	 *an?dv kills them off for чрогг, bur 'tuA idir.rw
Cksk (Cikj brmg$ them back to life by playing a tape of occuli Etedievsl nfe Jesse had bcm experimenting with. The «xnbte rock-en «г* iijui^e on their killers (who turn out. ю be Hip.cr. Еч
Mvtaf 77
IBraunT and several ocher Nazis) and faithfully play their scheduled gig befarc returning to their graves. Nazi zombies are fairly common, but this is ihe only movie to present I brier himself as one J he plot is slight and the thrills driven by adcjlruccit cn-nccms, but the ¥.11'1-1-tions on the usual zombie motifs are more imiuvaiire than in том of the camp zombie Hicks, to follow over rhe nest decade. Strange momenta abound, such as a zombie dwarf who,, through the course of rhe movie, devours himself entirely to nothingness.
Ait о J tome explains that jnm fries “feed on living flesh” and that "'They rip off your skin while the blood is still flowing in your veins." h goes on to state that “Certain ghouls don't cat heads ..... ghouls hare heads the way Satan hates the church.... Ghouls arc the antithesis of intellectual existence, which centers within rhe head. In the ghoul, the brain dissolves ro become rheir venom.* After reading this» the enterprising rmvinspeoplc attempt ro drive the ghouls away by carrying artnind large posters displaying oversized heads (of Elvis, Marilyn Monroe, John Wayne, etc.) 1 his nuly work 5 far a few minutes before thu zombies scarf the lot.
The undead condition is highly ccmtsginusi as an a ncient gum in ihe town unintelligibly puis it* “Ghouls begetting ghoul5—evil begetting evil—epidemic One hire from ghoul's mouth—venom making you to be dying." Apart from the hand playing their iu^trumrnti., evidence of zombie [ool use is limited to a salt shaker and a jar of mustard. The faur character zombies—the rock band, whose deathly рпНог makes them resemble KISS all the nwre—clon'r seek rhe flesh of the living or follow rhe bidding of Satan, bur are driven only by rhe pathetic desire to keep on rocking.
Heavy Metal
□jfj Gerald PuncrtLin. Prod: Ivan Rehman, itwwpbiy: Dzrt Goldberg, ten Blum. foic« rS‘l7*)= George Toglisrus, Don Francks Za) Yanovsky. Columbia (C arrtdal, l9fil.
Гт not systematically covering win bies in animated features, but this book wtJLild be glaringly incomplete without д mention of the “Rd 7" episode from this early '80s animation anthology. A small green orb representing the fUD of all evil winds its way through a series of srorieSj set throughout time and across the cosmos. Around the middle of the Elm it lands aboard a badly-hit World War II bomber shortly after a dog fight, turning all the corpses aboard into demonic
70	_
skeleton zombicii. A pilot parachutes out in time, only to find rhe порка I island below’ equally interred with undead- I he horrific zombies wear navigator caps and flying jacket, clawing their way from the shattered cockpits and balk-turrets of rhe wrecked bombers. The episode's effectiveness arises not only from the superb undead them-selves, hut also from the well-rwuUed—alflwst single-minded—narrative momentum: rhe entire story is dimply zombies pursuing .1 victim, closing in on him increasingly.. B^sed on a story by Dan О'Ban non (who would soon change rhe course of zombie history with Return of the Living Deadh this vignette is the shortest of the film's episodes, and rhe only straight horror piece.
Heli of the J inwjf De^d see Night of the /ombiei
Heli of the Lilting Death see Night of the Zombies
Hellgate
Dir; William A. Levey. Prod-. Ananr Singh. $&№ф1ау'. Michael O'Rourke, Cayf: Ren PjIiIId, Abigail Wale aft* Card Tnchardt, Pctrea CurranT Evart KSiraa; Jnanric tt'ard, I rank Noyard, Ghostiown Film Management* Durant Horizon/Ana nt Sirii’h (Soirtfi African 1ЭД9-
A special effects artist [Heliraiser., Hellhound) directs ал, unthinkably stupid debacle about ghosts, harassing a group of young fun-seekers in an abandoned mining town.. In one very brief and entirely gratuitous scene, all rhe town's dead rise and stalk them cn masse, but then quickly disappear again. Apparently even zombies find it boring.
ffrwrciqnirug A ight see Ni^bf of the C reeps
Horror Express
lOrrg. Fjmrn ГЛТ e-J irdNSiherhinof Ftir; Etlgeni-o Martin. Prodi Eugenio Mar Can* Bernard Gordan. .?сг*тпр/дуг Arnaud cTLh&eeu, Julian Hakvy, Eugenio Manin, СсШ: Christopher Le, t’e^i Cushing* Alberto de Mendoza* bilvia TurttHwu Julio ГЧпа, Angel del Pozu, Helga. Line, Telly Sava Las. Granade Films/Внипагfradwripn (Spain, Fri,gland)* 1972^
Л prehistoric apt-creature hosting a parasitic alien lite form is thawed From the frozen Chinese highlands, subsequently coming tu life on the trans-Siberian railway. After slaughtering a troop of Cossacks led hy Telly Sdval.is, the creature revives the ir bodies and scrtils
Г/л? J Jorrur и/Parry BratZr 79
them against the other pa^suingcri b Though very brief» rhe scene in which rhe blind zombies with rheir blank., white eyes stumble through rhe train toward the rear car is highly effective,
Alternate title; Pjnic tn Traws-S/icrMW Tram.
Tfoe Horror of Party Beach
Dir. Del Tenney. Frail Del Tenney,	Richard Elillisrd. Out: John
Scon, Alke Lvork Allan Laurel, tula belle Moore, Marilyn Clarke. Inzoms 1W-
Del Tenney’s incomparable relic, a *50s beach movie and moiv stcr flick railed i.nrci one., is all rhe more hihriouv Hr being played seriously, Radioactive waste dumped into lhe sea causes skeletons in я skip wreck on rhe ocean floor to grow Hesh and rise as reptilian fish-men with googly eyes. Theirянкаиlb bring a wekomt halt to the tire less twisting and shaking of the teens on rhe fun-filled < onnecricur beach, and they proceed to slaughter j slumber party of bubbly teen girls and ro arrack anyone eke our after dark. Dr. Gavin (1 aurell discovers that they are tn fart giant protozoan colonies and so have sei anemone instead <it human tissue. Never mind that protozoa and sea anemones aren’t eien tn the same kingdom—rhe upshot is that they’re like hg jellyfish and can't be killed by shooting them nr even cutting them up. Since protozoa are mostly water, sodium (which reacts vio-tendy with water} corns out to be the requisite miracle weapon. I he protagonists are preposterous, the heath bands are bouncy, while rhe humanoid fish-creatures look like they're just trying to get back to a school pkiy, Director Tenney's kids later used the masks left over from the movie for Halloween cosluhies.
So what does any of this have ro do with zombies? It's beyond me, hut the shooting title was /tttwsiun of r/« Zombies and rhe script insists on calling rhe mutated fish-men “zombies" at every rum. A radio newscaster refers to them as “sra rumbles,” and Dr. Gavin's black maid Faj la belle i Moore j even makes a voodoo doll for protection against rhe alleged living dead. During a discussion on whether a person whose human tissue has been entirely replaced by protozoa i$ alive or dead, Elaine, influenced by Eulahelle’s superstitions» ominously concedes that maybe rhe creatures arc “rhe living dead—zom-Lies" after J L Dr Gavin rightly points out, however, that the question of whether a creature is plant or animal has nothing to do with whether its ahve or dead But none of rhi* prevents rhe perky teens
JiO Ihrmr the Zwribiet
from dancing the ^Zflmbie Stomp" on rhe beach ш the sassy stylings of rhe Pd-Airesj the partner a approach each other slowly ind stiffly with straight arms omsrjtFLhtd until their bodies collide, By dli account^ then, the* hlnvnak'Ers really do know what zombies arc, and only by rhe most unrestrained lexical or taxonomies I presurnprian have they appropriated rhe term for rheir humanoid s«i anemones.
Horror of the Zombies
I Ong.. H Ьшфыг	DH Aniiindc dr Os!»orioh PfuJi J,I . Rf-rmiidr? Jl
Castro. ScrtTitip/jyL Ama л du de Chborio. Cjsj; Maria. Prrvchy, Jack TjvEijl Barbara Hey, tjrloi Lcm<M, Manuel de Rl? 5, Bianca Estrada, Anda Century/ Belen Films 4SpainJ, I?74.
The l>oys are back in de Ossorio’s third entry of the blind Dead aeries,. this time caking to the high teas in an armpispheric sixrecnth-century galleon. with rotted timbers and ragged sails. When two model* who loot themselves at sea in a small boar at part of 0 publicity ittint fell prey m the seafaring undead» sporting grmds magnate Howard Hacker ( Taylnr) comes to look for diem with another boatload of zombie fodder. Finding, thents-clvcs (rapped on board the galleon with the menacing zcimhip brethren, the characters nonce that 1 In.' monks must return to their сийиь in the ship’s hold J lit nig daylight hours+ atid so they throw all rhe coffins overboard before the 5im goes down. The ship bursts into flames, however, while the zombies climb out of the sea on a nearby coast. Although the essential ingredients of de Ouodcrt tried recipe зге present (most unhurried zombie monki, eerie groaning chants, and a moody galleon as a worthy substiruie for the imonasric ruins}, here they aren't as well exploited as in the firs t two movies, The chanting only starts after the zombies appear,. Иг instance, thus undermining its taut» for.’boding chilliness.. Wor^t of all, the model boar used tor long-range shots is laughably unconvincing—most tin for пзпз rely, since the ship « ostensibly the fifnTs major in novation, The »a for action on-board are passa h|y atmospheric, chough, as are the shots of rhe cloaked marauders emerging from the blue waves at the end. Some reference works are the movie\ original title as Ef bitque making but actually that would have our fearsome antagonists tcrroriEiftg a. “cursed bouquet.7'
The zombies adhere closely to dieiг established visual and behav-iora norms, adapting well to their hl-w nautical lift-чtyic-.. I>c Osorio varies the mythokigkd background for the zombie monks even
more dr,lyrically this lime: they aren't explicitly idcnhhcd a? ihc Tcni-phrs, for instance, and they don't really seem to be blind anymore. Horror pays u much atrentinn tn the greater forces of evil guiding the педнк$ as и does to jhr monks themselves—rhe coffins open them selves^ the ship navigate itself in a mysterious fog,, and a horned skull representing Satan burns the ship down after the zombies have Left, Professor Gruber (Ltmot) comhfics these forces with Catholic ritua'l: "'Spirits of evil, united Eo the d< vil, rejoin your master leave пь. Gizc— gaze nn the fiery cross, arid return to the darkness of your cold combs.-" The niurtkn recoil before the holy words, holding up their withered arms across their bees, and retreat into the hold. Though they lack the creative spark that instilled them with solemn grace m the first movie and with initiative in the second, rhe monks never prove them selves mure doggedly pertisrent than they do here, lumbering up to dry land from rhe bottom of the ocean.
Alternate titles: The Ghost Gallvotij Ghost Ship uf the Blind DwJ, I.d пюеЬе del buquB maidno, Ship of Zondji^s.
Horror Rises from the Tomb
'Orig. JLJ espanta -Swfgfi de Li /Mwrta). Dir: Carlos Aured. Prod: Ricardo Mufi«. Susy, Joce Antonio PcrrE Giner. SweeMptap Jaeimc Molina (Paul Naschyk Csstr Paul НмсЬу» Emma. Cohen, Vic ЭДтпеГь НеЦл Line. Pmfilnjra/Avco Embassy (Spain.), 1972.
The spirit of rhe fifteen th-century sorcerer AlarK de Marnac (Naschy) terror ties his dcsoendents in modern Pttncc while a ponderous organ score repeats, ir«H incessantly. In a cerrain NrgH-inspired scene two-thirds of rhe way through rhe film, Alar it raises the characters killed up r« this point, who trawl from я nearby lake and attack the house. The rasping, moaning, white-eyed zombies are at h#r driven back with torches, and are found ckanimared in rhe lake apjiti the next day. Former Spanish weightlifting champion Paul N&tdty (Jacinto Molina] appeared in ar least three movies with zombies in 1972.
The House by the Cemetery
{Orig, О-неЛл wW^errawfofll	Dir; Lucio FuicL Prod; Fsbrlziode
Angelis. Jrmjflpiiy: Dardana SacdirtrL Giorgm Marlinza, Lucin Fulci. i’inry EliiiA Livia Brigand. Ccijlj Kjthcrin?' В1.т.сСс11и Pafjlu Klnlca, Artis Pieroni,
Я2 Tbv Hwtf of Seven Corpses	_
Giovanni Itczzj, Silvia. Cullari па, Djgrnar Las inder, Giovanni dt Nj*.i. Fulvia Film (Italy), 15*8 J.
A nice fdiirti у moves ieieo a nice house on the outskirts ot' Boston, only to be prrctrd by rhe hideous z.nnnbre in rhe basement, пгпггесггЬ-ccntury surgeon Dr. heudsiein (de Nava], w ith knives skewers, and udicr riurp instruments of welcome. Freudsrein is tall and wear? an old-fashioned suit, bur hardly looks respectable with his clammy, discolored features and misshapen insect head.
Alternate tide* Tlp? /fowte Qatside the Cemetery.
The House of Seven Corpses
Dir. Paul I Iflrrisml. frod: Paul Lewis, Paul Harrison. Seteerfpktyi Paul Ktf-rjMjn3 Thumas J. Kelly. Qisri John Ireland, Faith DgmtrgLte, John Carrjdine, Carol Wettt, jerry Strickler, Charles Macaulay» Wells Bond. Tdeviaioe Cor-pars ri on of AmerKWInreniaocind Amusement, 197J,
Routine but capably handled, this fourth-quaпег shocker was filmed in the old governt»r\ mansion in Salt l ake City. Edgar Price (Carradineh rht caretaker of rhe old nirrtcert th-century Beale estate house,, which has a history riddled with murders, welcomes a film crew looking for a good set to shoot their horror movie. Crotchety director Kric (Ireland I snaps at rhe cast, while Price keeps out of the way. Middle-aged actress Gayle (Domcrgue)f playing a Satan worshipper, reads from si copy of rhe ГгЬе/ля of the Dead that is lying around the house, as the cameras roll: “Exsurgent mortui er ad me veniunt" ["may rhe dead rise and come to me"; apparently the scriptwriters believe rhe Tibetan Book of the Dead is m Latin.]. As the actor zombie tis£&? so also a real Konihie (Bond) gropes its way out of the ground uutrid? in the Beale cemetery. it kills Price first and then makes a pass through rhe bouse, while other zombies begin to emerge from the cemetery. Though there's an abundance of potential victims in rhe movie, they dour scare dying until after an hour and ten minute^—ar which point They al] gn iIowti in a single sweep. The deaths of the crew and cast are meant to recreate the murder-, and Suicides of the actual Fkulr family, bur the amneaions агепЧ wet] LXpl JLDcd,
Thereat only one main zombie who does most of the killing—a black, muddy form, ^ho breathes ragpily but otherwise makes no sound as he walks, slowly undulating as he struggles with each step, With bedraggled hair and clothes, his fate is powdery white, and his
I Eaf Y/jwr Skin Bl
eves tno sunken to sees He kills by str.in^lang,, Hinginig heavy objects from [brer stories. up, эн J other suitably dramartc rn<ans. The zombies only target thnse in rhe manor* and there’s no hi nt of a larger zombie invasion. A graceful if humble zombie massacre «weirs thw who make it through rhe tedious first two-thirds of the film.
Homjc of Terror see Wetwrrt of lhe Zombies
The House он Skull Mountain
Dir?. Run Hondianet. Pru<£ Ray Stjorey* Screenphy: Mildred Pares. QmJ: Victor French, janee Mkhrlie, Jean Durand, Mike Evans, Xemuna Clayton* Man J Tndc MeKenrie. Chocolanc Chip and Pinto/ZOth < entury-Fcuu. 197 4.
In this akitudinous, At lama-shot snorefest, estranged relatives gather at a spooky old mansion to hcar the requisite reading of matriarch Pauline Christophe’s will. The voodoo priest/butkr Thomas (Durand), the last descendent of the Pct ions, wishes tn wipe out rhe last of the Christophes, and thus resolve a political feud from the ruling faction* of early nineteenth-century Haiti. After terrorizing the family with snakes, Thomas at Last summons old lady Pauline (McKenzie) herself from the grave, but she doesn’t so much follow his bidding as kill him. Oops.
Pauline appears as a zombie only in the closing scene, climbing from her leafy grave and dragging herself back Into the ancestral house, With her long, white burial robt rind apazzed-out huir, Rhe comes across as a sort of zombie Mjss Havisham. By hearing the name of the gfiddess. Erzule, she regains sufficient power and autonomy io cast a. spell against Thomas. Though pretty useless as a zombie* Pauline ат least shows some taste: she leaves after seeing a minute or two of die crusty acting and hokey dialogue.
The Яоим OwfeiJe the Cemetery sec He Hawse by the Crmrlety
Е/ Hundimiertto Je la GavJ Usher set ZdjmLmT 5r Rrtxnge of the Наиле of Ufhtf
J Eat Your Skin
Dir- Del Tenney. Prod: Del ТслгИгу. 5стеелрйу; ИМ Тепл try. Cwft 'Williani Heather Hrwirt» Walter Coy, Dsn Staple ton. Betty Hyatt l.imun. M
Tenney Productiufli* 1364.

I Eat ¥bkr .Sfci'fl
Never mind rhe т ill e—this is as mild as honor gets, and nobody cart any slum Tenney^ unreleased tilm (WoJoo Bfoud Вал ft) was shelved for seven years, until Jerry Gross hIcw the dusi off it in 1971 and renamed it to make a double-feature with his own i DrinJt Vowr Blood. Hard-boiled slcazrball Tom Harris (Joyce J is a best-selling writer whose publisher drags him to ‘‘Viiaduu Island*1 in rhe hope of inspiring him with material for his next novel. Voodoo and live sacrifices run rampant ап the Caribbean island, inhabited by cliche-ridden natives who speak schoolroom Spanish and conduct interminable rituals. Harris stops rhe island’s overseer Charles Bentley (Coy) and his resident mad scientist from taking over the world with an army of zombies. As the hrrncs speed away in a boat, the laboratory explode» and the island, at last revealed to be з tiny model, bursts into tiny flames. All aspects of writing, staging, and dialogue are hopelessly contrived.
Although Bentley wishes to create an army of rhe undead ro conquer the world, he only seems to have about half a dozen so .far... A substance distilled from poisonous snake venom, once injected into the subject, ins randy causes the face ta deteriorate into a mottled, stucco-like texture, and rubs the victim of independent will. I he make-up effect consists ofa coating of plaster over the face and neck (which apparently doesn't reflect decomposition, since it appears so quickly). О Neil I. aptly calls them “bug eyed, crud-faced zombies.’ Harris stumbles into the hut where They're kept m between Sinister errands, and there’s, something ominous in the way the zombies just stand around open-eyed, not responding, in any way to his intrusion,
I hey generally keep a slow, steady gair, but can also sw ing a mean machete, In an anomalously creative scene, a zombie blows up the protagonists1 plane by casually walking into rhe propeller while holding a box of explosives—a zombie suicide bomber. Harris keeps trying to shoot Them throughout the movie, not figuring out that they are unharmed by bullets. Though momentarily thwarted by a good pummel or a torch to rhe face, none are actually dcanimated. They never speak ur express any Facial sentiment (after al к their faces ace covered with plaster), but once ar twice they issue л low guttural noise. Though highly cheesy, these gambirs are definitely game, con-unuously providing amusement in the midst of a ehafingly vapid island adventure sorely in need of it.
Alternate titles? Voodoo Bkod Bj/B, Zww/w, Zom/j^s.
TA* hteredibl* Doirtor МдНггил H5
Tie Incredible Doktor Markesan
(Eplsodt, TJj-pin₽F|, Din Robrrt Florey. Fnid: William Frye. TcJjipfjy: Demal J Sanford. Sfonu August Dcrleth a и J Mark Schorcn CjjI: Boris Кл doff, Dick Yorkx Carolyn Kearney, Richard Hale, Henry I li inter, Ikiul J lowes, Billv Beck. Hubbell Robinson I’mducrions. 19ti2.
Tferilkr was a shon-iived TV series host rd by Buns Karloff, who also ^тлгч m this particularly memorable episode. Down on their luck and broke, Fred (Dick York—yes, Darr tn from Вел-'ffcAcd) nnd wife Molly (Kearney} travel tf>ihe estate of Fred's estranged uncle and former здк-ntiiit Dnktrir Konrad Markesan (Karloff) for л place to stay. He receives them coldb. and they slowly discover why: heS actually dead, ind each night he resurrect* three I ormer colleagues (Hale, Howes, Rrdc) who got him fired from Penrose College by testifying against him at a hearing. All night he forces the tortured* unwilling^ dead professors to rehearse and amend their testimony over and over again. Markesan cvrnnially catches Molly and turns her into one of his creepy, marble-face J undead j!*o—poor Dick York never can get it together with his wives.
The living dead plead with Markesan that they be allowed to rest in peace „ but since he*5 the most recently dead and therefore The must limber of the lot, Markesan is clearly in control. Phe bodies are hooked up to some sort of I.V. unit as they ie in their coffins, where they remain dormant until Markesan comes to rouse them each night. The most noteworthy scene is when the four silently dose in on Molly with arm* outstretched, stiff and cadaverous, with dark, sunken eyes and little colonies of funk grow ing on their heads. So gruesome was this early instanceof visible decay that censors cut cut the close’ups before rhe show could air in England. The four of them are rational, deliberative, and articulate—in lact, far too much so. All four arc academics, and the scenario here imagined—an eternal faculty meeting with professors pontificating. interminably and correcting each other on minor points—is truly л poignant vision of hell.
fncredifffv Mfxttf-L'p Zowt/jte see T/j* hicjWihfy Sfrange Creu/«res W/xj Stripped Living	Berawe Aliped-Г p Zombies

Kt> lЛг incmlibiy Strattge Сгед&гвд..,__________________
The Incredibly Strange Creatures
Who Stopped Living and Became Mixed-Up Zombies
Dir; ftqy Dennis Smeizk ter. Producer: Ray Drnrm Strctlrf.	Gene
Pulluck, Robert Sil liphjriF. Cdtf: Gleb Fl 3£g, |I<JJ: Sreckkr], Sharon Witsh, linen □Tiara, Allas King, ITina Епртц Cara Lyn Brandt. .Morgaj^STcickler Pjo ductiniif, 1964,
Steck I er rrporrcdly came up with rhr id ел for this notftn ru £ q mcnisur musical" when he acquired the leftover соапкпвв from a Vegawryk dance revue. thus rhe film features a num her of pro meted song and. dance numbers decidedly it odds. with the buildup of any suspense or horror. Jerry [J-hggJ, Angela iWalsh), and iroends encounter embittered fortuiW’teller Madame Estrella [O'Hara) on J visit to rhe local amusement park. The malefic mystic hypnotizes Jerry using a. revolving hypno-spira.] and sends him to commit venous mur-dens. When she discovers [hat he remembers too much in his waking state, Estrdla decides tn add him to her menagerie of Tcrd-th.it h, $be throws acid on his face and leudi him to an improbable side-room where she keeps throe or four disfigured former lovers caged like дня nuls. The fiends escape! when she opens the dour, however; and go on the requisite killing rampage. If there is rntcrtainmenrro be gleaned from the movie, it’s more likely to come trerm rbr surreal dialogue and period hair than from the halfhearted: choreography or ketchup and-scrcam murders. Лч л promotional gimmick, actors in make-up leapt it the audience from behind rhe screen at first-run showings.
Th ough Jerry is under bst/eUn^ hypnotic control, and the acid maimed fiends in the side-room are stooped, raving killers with [altered clothes, lr«ng hair, and monstrous faces, none of these ortudh "stop living in any way. The fiends manually go around strangling people in disc rim ma [eh in their brief rampage, until the police gun them down, However monstrous, the fiends ar least hart taste: ют-bie JerryT dressed like a jogger, steps оп-srage in a packed night club and knifes • wear iso me pair of dancers to death; while the whole crew of disfigured brutes storm a cheesy South-Pacific dance number in progress and strangle everyone.
Alternate rides:	Dr. VrinJoo, Ifft redtbly
Zambia Teenage Psytbn A-i>m fi/rWy Abry.
Ineubu sutLi £itta cottiatninatd sec; City of the Waking Dead
of the Dead 87
Ih/cTHu rwor/t i^venh sec Night of ibe Zombies
L*i 1лмл'бя de tos muertas sec Invasion of the Dead
La Invasion de /as zomfuro akifflrccij see City of the Walking Dead Invasion of the Atomic Zombies sec City of the Walking Dead
Invasion of the Dead
 Orig.. I j rm/asieirt de los ntueriot). Dir. Rene Сл rd< >л л Sr. FiW: Rene Car dona Jr.* Enrique Rcsas- C*fe Zovek, Mu« Demon, Chrisia l-inilrr, Haul R inn ref. t arlofi Cardan, Polo Onin, Produtiora hlmka/Pcrsducciones Nova Mcxku), 1972.
Cardona prove* that Mexicans can do industry-stands rd, post-Nirgfrf zombies too, 4nd with only з minimum of wrestling. А big, smoking bowling ball from outer space causes rhe dead k> rise and go on a killing spree. Short, pudgy» out of shape, masked wrestling hero Blue Demon puzzles over mysterious happenings from hiv boiler room crime lab, while glittery nightclub escape artist “Professor1" Zovek heads out to the desert to examine some strange pictographs, fhc iwq heroes bravely grapple the Escalating num Iters of revived corpses who are gathering in the barren wastes and a couple of wolf-men. who show up randomly, to<h Mexican zombies arc always outrageous, and it’s a pity more of these movies don't make it to the States.
There's no real explanation Jlor the unhappy catastrophe afflicting the Mexican countryside—just a lot of talk of the mysteries of the cosmos and shots of a starry sky. Wh ate ver's to blame, the dead return from their moldy coffins with blank start’s and a thirst for murder. Congregating hi Large groups, they choke and maul their victims and then rip over rhe himnure for good measure. There'S no question of cannibalism, though^ in a mainstream Mexican feature of rhe period. Their victims also reanimate, apparent as a result of some sort of radiation emitted by a dry ice machine near rhe spherical meteorite. Most interestingly, these zombies have an unprecedented fattah fur vehicles: they hover around a bulldozer* and make oft with any car or truck the keys have been left in. One even hijacks a helicopter, leading to a very bizarre moment char crosses Night of the Living Dead with rhe crop-duster scene from North /?}' Norffriveft, A zombie is blown up by having л rwcj-way radio tossed at him (however that works* exactly I and die rest hurst into Hames when the howling ball
88 InMsron a/ /Lf
is destroyed- I can never tell when .Mexican B-movjts are trying to he hinni fir serious, hut watching wrestlers pummel unresponsive Zombies ill the face repeatedly certainly inure entertaining thuri Paul Naschy's gothic undead pt-nod pieces of rhe same и me.
/иглшоя of the Zombies
|OriK EJ Adwto crinfre /os ?rojf/hryJ, Dm Benno Alazraki. Prod; Alberxn Lopez. SJaryi Antonia Ordlafl*, Fernatidu Ows. ?k/u/jfdtrorf: Benito Ald-rrjki, Antonio Orellana. Cjsx: RuJulfo Huerta, Armando Sylvestre, Lorena Velazquez. Azrcca/Panamericana (Mexico), 196L
Mexico’s answer to Barman is El Santo (“rhe Saint" L an indefatigable professional wrestler complete with rights, a sleek whole’ head mask, and a glittery cape, who solves crimes in hi$ Ipftfe time. Controlled by a mad, black-masked vil lain from his underground fair; zombies begin a crime wave, and baffled police call in Santo to help them. He drives around in his Sporty convertible, combat ring zombie wrestlers in and our of the ring, pursuing them wherever they threaten law-abiding citizens. He at lasr infiltrates the villain’s secret cave and destroys the main computer, cutting off all the power to ihe fiendish undead. There art some odd touches never quite explained— such as how Santo is able io observe so much on a vidc-n кгесл in his computerised crime lab, including the villain himself, before he even knows who nr where this villain is. The adventure movit’ with its com к-book plot, hero, and villain is fun to watch in an MST-3K spirit, right down to the dosing scene in which Santo leaves tn a ray of beatific light while admirers ponder his identity and wonder at his magnanimity. Its fun, that is, a$ long as rhe prolonged wrestling sequences including the first full ten minutes of the movie) a ten t too off’puning. Santo was a real Mexican wrestler (Rudolfo Guzman Huerta, i I 9-1934|, who wcui a championship title in 1942 and retired undefeated in the late *5(h. He went on to star in forty or so movies, of which £/ Sewto /of zowtfnrj was among the first. In them he grapple* with vampires, witches, wolfmen, mummies, Martians. other wrestlers, and more zombies (TAe Land of tbc DW, 1’*6S>: The Mttunmes of Gn^naftidlo, 197(1; Santo rs, Mack Magic 19721.
The zombies are mostly revived killers and thugs, whom the police recognize as having died horribly long ago. Although their deaths involved mutilation and even burning, their bodies don’t have
bftfiiiMe ittvu tiers S9
any visible defects or xJrs (thus rhe zombification surgery apparently involves reconstructive cosmetics as well). In tunics, belts, and rights, they look like overgrown elves. Tliev walk and even tu mt heir heads in sync with one another, and when not bring used by rhe villain for his diabolical schemes, simply stand around in his cave. There art maybe a dozen or so that wr see, bur rhe villain calls them by numbers that go up at least into the twenties. They receive their instructions from him by remote control, or else over [heir car radio. Their basic weapon is a steel rod like л crowbar that they hold upright in front of I hem as they w alk.
The Keehler zombies wear electronic belts that яге the source of their power. The belts also have other uses—in one scene, two zombi es cur-wrestled by Santo turn a knob on their belts and there by disappear into thin air. They don't return tu the villain, since he w cinders what became of rhem too, so this probably represents some sort of self-destruct mechanism. The zombies aren't fuzed by bullets, bur they can be deanimured by removing or disabling the electronic belts (which sometimes iuse means humping up against diem too hard). A couple are even short-circuited when Santo tosses я flashlight battery at them. They’re all reduced to smoldering piles when the main computer is destroyed ar the end. Though providing endless momciih of paramount absurdity, these low-budget fiends are basically bad actors m tights, and ugly ones at that, the filmmakers obviously expended all of their creativity on rhe intricate pl or and. thoughtful dialogue instead.
Alternate title:	vs. Zwm/zms.
Int?isible Invaders
Drr; Edward L. Cahn. Prod: Roljert E. Kent.	Samuel Newman.
Coin Philip Third. John Agar, Jean Byron, Roben Hutron, John Carradme, United Artists/? rernium Pictures, 1959.
Though dearly a product of its own rime and a low-budget,, /wi ts-
Iwradert is engaging and last-paced, riddled with genuinely inspired twi.Hts alongside breathtaking implausibilities. Invisible aliens inhabiting human corpses attempt to conquer I arch. I hey claim that they never bothered with Earth so long aS we remained primitive— bin with nuclear science and the dawn of the sp.icc age, humankind has now become a threat. Unless we surrender completely, rhe invaders will occupy corpses all over the planer, and I he dead will
90 inwitibif Itiiasdffrr
I '.ipper cadavers nvsiriirt VOst America in hdward Cahn's pro^wntivc Jrim-?&fr taudt/fn fl 4
kill [he living, and the people nt Earth will erase to exist.’ Scientist Adam l^nncr(Tcnpe), Major Bruce Jay (Л5дг), tind sotnr others lock themsdves in a bomb shelrer/laboratory to touk tor an answer (as m Dtfy nf the Deadi, while civilization collapses and the living dead ptiund at their very doors. Ultr^sonk waves save the day. Hiis ‘50s bcience-fiction fossil represents the first genuine zombie ApOcalypiE
I IVj/fcrd UHrf/j j Zunibjr 9]
ui rhe big screen, though in importance ultimately lies more in its influence on the Romero trilogy {especially than ui its innin-sic merits ►
The invisible aliens can enter or depart from die cadavers at wilL When inhabited, rhe ambulant corpses have a pale, ashen pallor and drawn features, and if not quire rotting yet, they're certainly teetering at their expiration date. I hey show no vestiges of their former mintb or personalities rhe body is simply a vehicle fur the invaders. 1 he most memorable scenes are ot a dozen or so zombies coming over i rocky ridge toward rhe hunker, arms out stiffly in front of them, ambling down slowly hut unsroppably. Dressed impeccably jn suits and tics, they look very conservative .ind unhappy. These respectable-citizen Eisenhower zombies are, ironically, the perfect emhudimenrs of the perverse *5Os America rhe protagonists згг struggling to protect. (A shot from th is scene appears on the cover of the 1984 The Fiends album, “We've Come for Your Bccr Mi '1 hese scenes, along with tho-че of the corpses soaking up gunfire as they advance, bear the most striking resemblance to their later,, more compelling counterparts in Night,
La Ida de fos жнегод see Tbe Sudle People
The Island of the Last Zombies see Dk Btrfcber, A4.D.
bfunJ of the Living Dear/ sec Zombie
Island of the Snake People see The Snake People island of the Zombies sec HrpficNigbts of Jbe Lwiivg Dedif fc/e of rbc S’Hafef People see J be Sn*jJte People
I Walked with a Zombie
Dir. Jacques Tourneur. Prod: Vai Lewrim. .Vrvwpfcrp Curt Siodmak, Ardcl Wray/OwJ: James Ellison, Frances Uct, Fom Conway, Edith Barrett, Janies Bell, Christine Cordon, Тсг«й Harris, Sir Ijncclnt, Darby Jones. RK0 Radio Pictures, 1943.
Lrwton shot this lyric ode to sadness and tntropy—among his finest films—lust after his classic Gof People. RKO assigned Lewton rhe exploitation title, for which he and his company, hoping to adapt ряс Еул? to the West Indies (a half century before Jean Rhys’ We
92 J Walkrtl with 4 Znrwhfe______________
Stalu^^qut iambic "Ч апткшг" f Harin Jone*), the keeper uf ihe vnbSrdadi, nil Owl mindkSK I hri Stine Gordon 'left! and her caretaker Нгнпстг! Dee (ten-Irr) tn pais in Vai Lew bin's clavdc I Walked with a Zuorfric (144,?).
,4fi£uj:$o SmR seated ап л tm 05 phene and intelligent vision un parallelled in zombie film. Nurse Betsy Connell (Dec leaves blustery Ottawa tor a position in Sr. Sebastian in the We$r Indies ra care for sombie-lilfe madwoman Jessica Holland (Gordon). There she finds he reel 1 caught in the middle of a war between two half-brothers, gloomy Paul Ho I kind (Cunwny) and alcoholic Wes Rand (Ellison).), and is Lncreiiiiifdу drawn into th? frightening yet ultimately knowing rituals of the natives. РагеЧ inexorable haml weighs heavily on the spL’iit European's white the natives are presented with an appreciation and .sensitivity refreshingly at odds with Hollywood standards of the day. The stately plantation house and the sublime fields and beach arc all permeated by a Mtffticattag sense of degeneration, leaving ли ovcrn.ll impression of the inseparability sif beauty and sadness, in nature 1 hi less than in Love.
There aft two zombies in rbc dmhk><i. white Jessica and native ' (. arrefwur” (June$|—though itbs carefully left aunbiguous whether Jessica is acmally undead ur simply insane. The doctor explains that she had a severe? tropical fever, in which porcicns 1л her spinal cord
Г Was u It't!Mge Zombie 9*
were “burnt tnit.” She is thus Ma woman without any willpower,, una Me to speak, or even act Any hei self—rhough she will obey simple commands.” She occasionally walk& about iht. plantation restlessly! without purpose. Gaunt and eerie Carrefour is nt a diherenr mold, his hard, stony expression contrasting with Jessica's listless sullennesS-Whcn at the climax he pursues fessica, whose lifeless body Wat has carried to a watery grevr, he stops at the sharthnt, the surf washing about his leer. What+s most interesting about Carrefour is that tiv see in \ nor io much an unholy monster as a natural part of the caw fields and sandy shore,, themselves dark and mysterious—be Is, as it weres an embodiment of the will of the natives and of rhe land itself, д will expressing, disapproval of rhe moral trespasses of lhe deeadertt colonialists.
I Wbs a Teenage Zombie
£Hh John Elias Mkhalakh. froJ; Richard Hirsh, John E. Michalakis. Screenplay; James Martin. Gttfi Michael Ruben, Steve McCoy, Crforgi: Semin.ira, Robert Sabin, CaSsic Madden^ Peter Rusli, Allen Rickman, Kevin Nagle. Rtf Srouph Peridean Morton Pictures,
Star-ci»ised zombie love blossoms in this irreverent amateur parody of high school romance films m the Sfxtt’fw	tradirion
Bored teens have a run-in with sleazy pusher Mussolini (McCoy), who becomes л ferocious zombie after his body is thrown in an irradiated river. He к ilk Dan (Ruben), whom the boys then also throw mto the rivet to create a zombie ally against their undead opponent But all Dan winds up doing is moping in the basement of their favorite soda shop, crying to build up the nerve to ask Cindy (Madden J to the Spnug Dance- Though Candy triea to love him. Ibices her heart, she can barely stand to he ncar him, what with his stony complcxiun and gaping чогсь (ьпеЧ not as upeti-minded as Missy in Aty Boyfriend i Bjcfei. She eventually dies also, and zombie Dan carries bur body into the radioactive river, ao they can be together forever. Though • successful spoof of movies char beg for it, this small-scale production suffers frotn drywall acting and sonnd/lif*firing limitations, and include? a distasteful rape scene. De^diy Friend and i a Tertwg* Zomftfe spark off the zombie romantic comedy trend of the latr and early ^Os.
Nor onb do rhe two zombies keep their former personalirie^ bur Dan even has io be told that ht\ a zombie. Zombie Mussolini, who
44 J д ZtMfrbi# /hr the f.b.L	.
Sc£i№ to spend his tune in or near the rivt^ eats the tongue of onr of his victims, and chews on a live er I when emerging frCffl rhe riven but this could be an expression of rage rather than hunger. Though zombies,, their physical powers arc heightened by the “pure kinetic energy" that has reanimated their bodies, so they’re both strong and dexterous. Ostensibly the film's major attraction, the zombies still aren’t very interesting! but there are some amusing scenes,, such as the one in which the kindly soda shop owner tries to convince Invested l к D.m thjt Cindy isn’t going to want to go to the dance with him because he's 4 zombie.
/ Was a Zow&fe for the FILL
Marius PditcEntr. Plrod: Marius FentznCJ, Nancy bontkutL Manus Peneiner, John Gil I к к Cast James Ka^btrry, Larry Raspberry* ClirbEina Wellford, John Gillidt, IJ tirei№« Hall,. Anthony kbril, Rick < rewe, Ahn Zellner. Pcuczncr P.ntiductiuris, 1?84.
A light-hearted tribute to classic ‘40s detective thriller^ thi±> over long, b Lick-a nJ-white university project from Memphis comes out as a cross between Dragrvt and .НаМомтггл fJ.h Seuzon и/ the Aliens take over rhe Health Cola plant in tiny Pleasantville, and turn the local population into subservient zombies while plotting world conquest. Hard-boiled special agents Rex Armsrrcuig I Rasberry) and Ace Evans 1 Raspberry) muse surmount a variety nf criminals, aliens, and a clay-matLorj monster from outer space as they penttrare the t-ola plant to uncover the evil scheme and rescue Armstrong's love interest Penny (Wellford). 1 he scripting and acting are surprisingly clean for such a small scale production, but the cliches come a little too thickly and the Zombie Noir experiment pushes the limits between satirizing the old movies and just making another cue of them. Despite the fl Jah у title, the 1 \B ,1 agents and the zombies arc entirely distinct.
More in the tradition of J л уде гои of the Body	than
Nr,t?hf of the I itfirtg these zombies aren’t resurrected dead hut simply hypnotized living. Around Pleasantville they sii motionless, or perforin only bank actmtiev, such as listlessly pushing д rotary !nwn-mawer along a paved sidewalk. Doctor Kaufman's (Zellner) odUBt* nations reveal that, “ subjects arc still able to maneuver quire easily, relying on a primitive sensory perception. Heartbeat continues at in inordinately low rare ot forty bestrs pec minute, due to what I believe is a reduction of impulses from the sino-acrial node,... This reduction
J, ZoNtbirtr TW CferortidM of Pain MS
in Mood flow through much of the s-ubi-cer’s peripheral muscle tmtic— particularly in the t леи I repion—results m an ashen appearance," Entirely mechanical and expressionless, they perform then tasks around the plant | moving boxes, etc.) with the necessary coordmi’ non, though occasinnalh bumping into a chair. ['hey don't seem to ear anything, but they do take regular breaks to drink the cola which keeps them mindless. Purely subordinate to their alien masters, the com bits themselves are innocuous background trimming.
/, ZowWer Tfoe Chronicles of Pain
Dir; Andrew Parkinson, Prod; Andrew Parkinson-	Andrew
Parkinson, Curt: Giles Aspen, Ellen Scrftlcy. Dean Sipling, Claire Griffin. I.osr Films (England), 199Й,
The amateur zombie movie wave of rhe "9Ds contagiously spreads to England tor one of the Last zombie movici of the twentieth century. Collecting moss samples on a field trip, grad student Mark Aspen) is bitten by a spastic zombie in an abandinned house and gradually becomes a monstrous, flesh-earing fiend himself. Mt has to cat someone every Few days or else go into wild convulsions land even with eating people, he still has a fit once in a while), a.nd he deCampoics slowly. Al the months turn to years, he narrates his deteriorating condition into a dictaphone while yearning for his under* standibly estranged partner Sarih (Softley). The prolonged scenes of Mark moping and motionlessly contemplating his plight don’t help the pace any, but with contoured, sympathetic characters, fr Zoflibje IS more competent and compelling than most и I its small sc jJe yan-kce predecessors.
Though Mark analyzes his condition scientifically, the movie is more concerned with his meandering inner world than his symptoms. There’s never any explanation for the phen от тип (and who needs one, by now?), and mo indication of how many others cut there might be suffering from the sanit Affliction. The movie is a little short on laughs, bur memorable moments include Mark applying a dainty antibacterial pomade to his gaping lesions, and later screwing metal splints onto his own festering leg using a power drill. Mark is .is manly a gut-chomping ghoul Hi rlic best of them, though be Joes touch himself down below more often than most zombies tend to, ft f-eW from bfw SJby see Пк A/o-н Dead
Kill and Go Hide see T^₽ CWW
9fi Mi'/Анх Л/rar	_______
Killing ftrrtis sire Raptors
Tb? Ki/firtg Bur set The Los/ Brigade.
Killing Spree
Dir\ Tun Ritter, Vincent Miranda. Frorf; Al Nicolosi, Screenpiaf, Tim Ritter, CdsS; Ashcsros l*L’lta Courtney Lrrcara, Raymond t arhnne+ Bruce P2.411c tie, Joel Wynkoop. Twi-flt J UluMoiu, 1987,
People with ню much rime cti their hands in Palm Beach throw together нп uninteresting backyard slasher movie with и Kombie twist Torn Russu (Felt) mistakes hi a wife'fc (Lercara) steamy fantasy stones for an actual diary, and slaughters everyone she comes шо contact with in fits off frothing* jealous insanity. They all come back ar the end in states of gruesome disrepair depending un how they were kill cd |+ and nrgue among themselves who gets to kill him. The only creative scenes^ the murders themselves» total maybe four minutes ol screen rime
King of the Zombies
Dir, Jenn Yarbrough. Frod-. Lind*Icy pa гл ms, Screenplay; FrJmciid KeE*o. Cdsl: Dick Burtd!» Akimaii Moreland, John Archer, Joan Woudbnry, Henry Victor. Mafgueriic Whitten. Purricia Stacey. Leigh Whippet, Madame Sul-Te-Wfln* Guy IfshcT, Jimmy Davis.. Мопс дпип,. 1941.
Mon ngram's answer ro RKO's hit nt rhe previous year, Tbf Gbast Breaker^ was. this utirrly absurd ,ind delightful thriller lea lining a veritable smorgasbord of alternative consciousness—hypnotism, zombi Rent ton, j.nd transmigration of suuk. Even-kcckd Bill Summer?, t Archer}, irascible James McCarthy (Purcell^ and ВИГ? energetic valet Jefferson (Moreland) craah'knd on a mysterious island somewhere between ( и ba and Puerto Rico, There they are welcomed by courteous yet sinister Dr. Sangre (Victnr)t a N.i^i spy who*s been trying to сксгает military information from an abducted admiral fUsher] by transferring rhe admiral's ^oul to ,inuther body fnr questioning+ through voodoo rituals. The only really spooky scene (Archer and Moreland finding a desiccated mummy) didn't m.ike it into rhe titial movie except for a brief glimpse, and neither did Ыа Lugosi, original ly up for the pan of Dr. Sangre. Го cap oft the Ikr of ncnr-naiissee, th г film’s unremarkable music «itore (hj Edward Kay) actually went.
Кмод Fm Znwtbie 9'7
up against that of Сймбм £дое for rhe 1941 Atademy Award. But Moreland's running Lcciiriicmjry on. the uitdcjJ keeps the diakjgije lively, and this is easily the funniest of rhe zombie pomedy-horrors of th? 1940s,
Except for McCarthy, the zombies arc all large native men with чГгтп faces, but generally look tex) wasted and empty to seem cspr-cuily menacing- Morth nd refers, to them as “dead folks, what's too lazy n> lay down,* and later hypoihesizes of a suspected zombie, “Supposin’ he's dead and don't know it.” They stand straight and tall, their heads never tilled down—even when they cat soup. Sddgie insists that zombies don't cat meat, but the servants puinredly cell African-American Jackson that the “haints” prefer djrk meat. Sangre hvp-ilciizes Jackson into believing he's a zombie, but Samantha (Whitten) snaps him our of it again by making him rat salt (salt causes true zombi ts to shrive] up and “get dead again" . She jIsu mentions that wm Ыся cant talk and don't cast a reflection Ml л mirror In ihc original script» they were not only supposed to t a Ek, bur actually to sing л number called “The Grave Digger's Song? Despite Morehnd’s Shaggy-like fear of (he zombies, they never realty wind up hurting anyone. As Tom Weaver observes, “The impression (he film gives is that all they ever de ift wander around outside rhe kitchen waiting to hr fcdT
Я'йз DuJdy Goodbye sec Rewoge и/ tbc Zombie
Kung Fu Zombie
Dj'n Hwa 1 Hung. fW: Pal Ming.. Cflii- Billy Chung, Chan Lau, Chang Тло, Cheng Ka Ying. Kwon Young Мрм* Pa к Sb Lik, Shum Гап Chi. (i long Kongh W82
In rhe opening scene, з Mau-Sham priest demonstrates his powers co j potential customer hy reanimating three sprightly leaping zombies* nimble and lightning-quick, who literally fly out of their coffins. They all .fight for я few moments before being sent back ro th err graves; then the rest of ihe movie is about a pair of demon, vampires instead^ The spe?dcd-up cinematography of marria.1 arts action uences always gives zonthies in East Asian cinern-a -i novel, iharis-matie rwist.
9S L.j Сддг ддг	____
La Cage aux Zombies
Din Kelly НидЬся. Srrf£'?ipJtf>-: Kelly Hughes- Сл/з Cathy Rouhal, Eric Glad-ijfl.J.R, Clarke, William. Love, Bcity Marshall, Beautiful Birin Lucky Cham Siudlid, 1995.
Noe everyone likes their undead in G—strings and long lashes, hoi never say the zombie isn’t versatile. Upset to discover that her irriea blc husband (Clarke) is an in te mat ion? I drug lord rather than a pub lisher, Norma (Houbal) tries to run off co Vegas with a bag of hJi money. Her plans are sidetracked when her boy Friend Brent (Glad^ sjo} dies and bevomrs a zombie of equivocal sexuality, while jn armj of drag-ghoul* forms in the streets. 1т veems a team of muscular foor ball players who went down in a plant wreck (and were forced to eat each other) have risen again by means of “strange voodon'' and uni rash their uniquely risque brand of evil upon Stat tie. Those who are bitten strip down to bulging jockstraps and kill with tomahawks and powder puffs. Look nut fair subtlety in this ultra-camp zombie marathon, but it's certainly less predictable than the average '9(h undead hu-rtie movie. Au aristocratic Nazi lady goes л round spurting blood at people from her empty arm socket rhe entire movie, fci1 instance, and in one scene л transvestite zombu,- standing around in a bathroom pats himself on the stomach fur maybe two full minutes while я wom.in (well» could be a woman) watches from a wheel chain Still, dos sort of forced weirdness gets, old after a whik. The camera* person half-heartedly mutters “k-pow71 to represent gun shots.
Le I<abvrinthe see A Virgin Among the Living
! £ ijc de$ mi/rti гчтпа'пй $ee Zowt/rie Lakv
El Laga de Foi mwerftw uinwri/es see Zombie Lake I be Lake of the Living Dead see Zombie Lake
The Land of the Dead
ijOng. FI ffliMwJo de kif maertuiL t>ir; Gilberto Martinet. Sfilares, frod,’ Jesii& Sooimayor Martinez. Sajry; Rafael Garcia Trave&i, fesui Sutomaynr MiirriricZr CoJ4,r Santo, Blue Demon, Pilj.r Beiliccr, Carlos Le6ri, Antonin R.jmeI, Guillrmio Bianchi, Carlo* Suarez, Sutumayor i|Mexico], 19*69,
I l Santo continues his fight for truth arid justice, this utiic sat ing fiancee Alkia |Pcl!iccr) from a vengeful 500-ycar^old witch. The antiquated sorceress sends th ret’ reanimated corpses against Santo.
lire jLjjI Mjm oh ZLtjrTiO 99
who fight him in his home, in rhe wrestling ring, and in spiue nearby fields,. In j terrific sequence, fearless Santo even travels to the fire-choked pics of hell I shown in red-tint anti dubbed over with rhe wailing of the damned), where he wrestles some more. 7Ъ.е most ambrosial parr of it лЩ though, яге the savory glimpses we get into Santo’s private life; with cardigan and slacks he goes on a group tour ш a museum, with suir and tic he attends 2 party, and with night shirr he reads in bed—the whole time wearing his ludicrous whole head wrest ling mask.
The undead are shown rising from their tombs in the seventeenth century, and liter more cadavers emerge from steaming red tombs in hdl itself (чяу, what does it mean to be dead m hell, anyway?).. The fiendish grapplers follow the bidding of the Satan-worshipping witch, and arc themstlves driven by infernal powers. 7 hus they can teleport at will, even appearing in the ring while Santo is trying ro fight, They’re immune- to all regular attacks, bur they can be driven away temporarily by a cross, ihe first rays of dawn, or a good wrestle.
Alternate title*; Santo and B/мс /Jtwort m the Land of the Dead, El Santo en ei njundo de /05 пшит/ш.
Tbe Last Man им Earth
Dm Sidney Salkvw, Prodt Robert I.. Upptrt. Srrrrnp/jyr Lopiin Swanson, William Leicester. Casfr Vincent Price, Franc* Йгосия, Emma Dan id l, Gia-сото Rcssi-Sruart. Al Р/Aha Vista Productions, 1964.
Richard Matheson‘s novel J Am Legend, the ultimate inspiration tor George Romero’s screenplay for Nrgbt, enjoys a fairly close screen adaptation with a strong lead from Vincent Price. Price is Robert Morgan, the last living human being after an all-encompassing plague has devasr tareti the earth and transformed rhe human race into vampires, By day Morgan systematically scours rhe city trying co loom and kill them; by night he fries to stay sane in his barricaded house as the plague-ridden undead incessantly pound at his door and call out his name. Ar List Morgan stumbles across a woman who reveals to him in underground society of ftirvivors who are only partially infected, whom he has been unwittingly kilhng along with the vampires, 7he ending is more upbeat than rhar of Matheson’s novel, but this doesn’t detract from die gjim and potent statement on modern society implied in rhe macabre parody pf daily routine. I he Omega Man with diaritcon 1 lestoti is a much freer and more scnsationalisric adaptation of rhe чте story.
Elegant interior decorator Vincent Pride calk uul over the стрь airways to ascertain whether he is really The Last Л1хгк on thrift (WtdL
rite utidejd vestiges of the lorrncr human race represent .1 seamless blend of vampire and zombie elements, Superimposed on what is (tn all appearances) a zombie are the Hollywood trimmings of a vampire.; they can't Ьсл tn see their reflection or to smell garlic, they can't stand sunlight, and they can be tilled by driving a stake through the heart. But I know a zombie when I see one: theie mindless hulks lumber around in rattened and soiled dwthes, devoid of emotion and humanity, repel itively droning a few simple phrases. Though they seem ru remember a few simple things and can identify Morgan by lume, their metiul faculties are all but erased. Jt rakes zombie Cul t-man three years, for instance, to figure out how to knock the mirror off of Morgans door—simply by approaching it from the side. The undead wield sticks or whatever el>c they pick up* using them xn pound h.ili-heartedly ar Morgari*£ door and walls. They are utterly ineffective in their manipulation of these tools* however; Cort man probably hits himself as often as he docs rhe barricaded dour. Oww* all the relentless zombies arc quite dulling, forming a solid bridge
____________________________________________ Fbp	/Ifad 101
berween those of 1ниш&£е fm/aders and N/ffrf. One scene in which they scrounge for implements and begin assaulting the house tn the sound of a grand choral arrangement is particularly grandiose and artistic..
T/je Laughing Dead
Dir; 5.P. $CM5itOw. Pfod: Lew N.ikxishima. SiTorrrptay: S.P. Somrnw. CffSt; Tim Sullivan „ Wendy W<-hh> ST Sorrtlow, Prrmika Eaton„ Patrick Rciskowivk, Ldrr> Ka^idi, Krista Keim, Rvan Effner. ArfhaeopltfyK/Tcrcrl, 1ЭД9,
Kindly but world-weary priest Ezekiel. O'Sullivan (Sullivan) rakes a group of high school kids for an archaeology field trip to Оякаса, Mexico* during rhe Festival of the Laughing Dead. There, the evil Dr. Umrzec (Somtow) targets them as sacrifices for a ritual lie’s planning, to prevent an astrologic.il harmonic convergence, O’Sullivan becomes possessed by a demon during a backfiring exorcism, while ihr rest of rhe group attempt to marshal the aid of benevolent god Qumalcouarl through New-Age crystal power. Sucked into an ulternatE world through л rune marked portal, the group confronts Umtz tc and his army of zombies. Following artcient Aztec traditions (sort of), rhe humins play the zombie* in 4(hc Ball Game of Death4 (actually just basketball), that the humans easily win for obvious reason*. Lighr-hearred even at its most climactic moments, the horror spoof yields some fairly funny scenes for th me who can sit through the arduous character development.
In the subterranean caverns of the alternate world, rhe decayed, long-haired zombies wan det around carrying long* poinlcd sticks, awaiting Umtzec’s bidding. They are stiff-fointed and slow, still wearing their torn and blonde lined white sacrificial robes, i There’s even a glimpse uf a zombie wearing sports socks in the basketball scene.J They only appear briefly* to champion rhe cause of evil tn rhe cere mom al ball game. Bless their bodies, rhe plodding undead do manage some rudimentary attempts at dribbling, faking, passing, and shooting, chough they’re no match ror opponents of normal human dexterity. Discourage ds they take m assaulting the human ream instead. The zombies don’t get much screen time and are only used as comic foils, but the basketball scene is truly one of the great moments in zombie cinema.
102 т/и	of the Srvtti Golden Vamp 1ГГ5
The Legend of the Seven Golden Vampires
Dr/: Huy Ward Kakci. Prndt Don Hough ЮВ, Vec King Shaw. Sartenpioy. Doh Hnughian. Catii Benet Cushing, David Chi ал Julie Kge. Robin Stewart, ShJi Szu, John Forbes-Ffobcrtbu л, Chari 5b?n. FlaiflmcrflShaw (England.
Hong Kong), 1973.
Hammer Studios, known fnr ntmospheric period horror, .imj rhe Shaw frothers, a martial arts company, collaborate to create a high body-count karug fu-rampire hybrid. This colorful mnngrei filmed in Hong Kong is definitely nor the- usual Hammer fare. Professor Van Itching (Cushing h having just compared has famou& adventure? m Transylvania, accompanies I hi Ching (Chiang) and his seven siblings—all masters of martial arts, and each specializing in a particular weapon—aero» the forbidding Chinese wilderness to subdue и ver vampires. In a hnal kung fo bloodbath, the vampires and their undead army besiege rhe brothers and other villagers in the walled town of Ping KweL Intoxicating and continually varied, this resituates gothic Hammer themes and production values (already past their prime in 1973} in a fresh setting, injecting them with the frenetic energy of martial arts movies
The Seven Golden Vampires are withered, eruity-^kimicd demons, with long fangs. They reside ^ith Dracula in a pagoda rem pie, calling on the M demons of hell" to preserve them, and suuiiiiunmg their former victims from the graveyard by chiming on a Large pong. I he
first scene in which the dead rise is very powerful—mostly reduced to mere skeletons, these zombies ascend fluidly from rheiг misty graves (in slow morioir, following de Ossorio) and con verge tu form a. sizable army, They wear tattered robes with sashes* their long black hair flowing around their grey skull-faces. No hoes or farming implements lor dhbi undead army—they sport tridents, spears,, and a furniidabie arsenal of other impolite hooked, pointed, and edged weapons. The awesome and unhurried ceremony of die first zombie sequence tsnT sustained, though- in the final siege* the zombies гтог along ar a brisk pact behind their mounted vampire masters,. Furthermore, the zombies ек hi bit a strange habit of running in place even when nor ac really advancing, giving ihc-m an air of edgy restlessness. Nonetheless, the undead army of foiMA Go/den Vflmpfrat, formally decked cut ini tattle gear, is one of the most visually spectacular in zombie cinema. I he more recent undead siege m Лгртту о/ Derbies*; (1992) is under’ mined by Camp si Hint ss and slapstick comedy.
Let 5 кeping Corps₽4 Lie 105
Alternate titles: Dracrt/j ил J	Go№i Vaw/wres, Tfee
Stfwtp Brothen Meet Dracula.
Let Sleeping Corpses Lie
<0rig. No prn/jn^f H j/rrfin Jf iTojp rrtKi’r/oiJ, Pin Jorge < rtiu. РгоаГмлтг I dmunilsj Amati. Аьтеелрйу; SiiiJro C^ntinenza, Marcello Cowin Cu*f; Rav Lovelock, CliriMine Gfllbo, Anhar Kennedy,. JtJ.nnmc M&tre, Jow Kuiz. Lifamc, Fern^ncln Hilbcvk. Star Film&'FLaininia Producrinns (Spam, Italyi, 1974.
Screen rorabics are international if they’re anything: Catalonian director Grau shot his surprisingly effective English-language, Spanish Italian co-production on location in rhe green, bucolic splendor of non hern England. Hapless Edna (Gal bo) and vitriolic George (Lovelock) meet by accident and a re quickly plunged into a series of bizarre happening,1! in the Lakes District highlands—Edna is attacked by л man known to he dead for a week (HilbeckJ, and both out-of-towners are suspected by the local no-nonsense police sergeant (Kennedy) fur rhe strange murders suddenly plaguing the area. Really to blame are the ultrasonic radiation rays put our by a device from the Department of Agriculture meant to destroy farm insects and parasite^ The rays, which unly affect mere primitive nervous systems, arc supposed to drive the insects mad so that they attack one another— but rhe experimental rays also affect newborn babies, and as it happens. the recently dead. A successful N/g/я ofthe Living Dead remake and adaptation, this offers numerous edge-cd'-your-seat scenes with a minimum of the embarrassing Lincs and filler material characteristic of rhe genre. Clean direction and Tolerable acting give the film a far inure professional feel thin must zombie gut-flicks of [he period > and there is something poignantly jarring m setting rhe zombies against peaceful, pastoral hills and dales in Lull daylight.
7 best undead are sturdier and stronger than the easily-repelled zombies of Nig/я, and certainly more intelligent. Not simply mindless killers, they flee from superior numbers and arc not above lurking in shadows to bide their time. They kill by strangling, crushing bones, stabbing and hacking with sharp objects, and ш one <CtM« they hurl a large tombstone as л projectile. They even employ rhe tombstone as a battering ram in a tw«-xumbic coordinated efturt, though that’s the extent of their technological and strategic sophistication. The ghouls respond negatively to bright light and rcctifl from
104 Lrntieu	Horrur	______________
fire, bui dispL> no ocher pain responses or emotional behaviors. They unfli nchingly suffer being imps fed, c hopped , shot1., and smacked upside the head ia-ith a ruckT and arc never the worse for wear. Burning, seems to he rhe only way to stop them.
Although only recently dead corpses arc directly revived by the radiation, older ones- can also hv raised through an odd ritual. Ln a. moment of unusual clarity and purpose, ent zombie lightly dabs the eyes of several other corpses with fresh blood, causing them to rise as гогоЬй*. The jmauiahnis rite is unnecessarily myscical and rcli-gicms in я movie otherwise content to treat rhe phenomenon as j nc.r-voljs disorder. The zombies’ main motivation iecttis to be purr hostility, bur they also feast on their victims, cither from a secondary hunger impulse, or simply as an extension of their aggressions Sober English landscape notwithstanding, they .also share the propensity of many Spanfeh-ltalhn ghouls for Tearing Ыоичгл and genera Uj йхаг jtig. breasts. Otherwise, though, they аге геыглiiiiful and captivating, perhaps the best zombies in a year nt very good zombses.
Alternate titles; Breakfast at She .Мь№'1Ьгзд,т Mo/yrw, Do^'r Opes the Windom, Fin de $e?ndod para ltrs mutrslos, Living Dead at the Manchester Morgtre, Л/сж if deve prof апл re il stmnn dei таги, Zombi J: Da tioi'e vienii
Liunea Quigley3S Horror Work-Out
Dir: Hal KtnneJv. JVod: Fred Kennamer. Sereetrpfey Hal Kennedy Cast; Lmnea Quigley. and койпЬегн: Jeffrey Bnwscir. Р>гпсзд Harms, Randall Harvey, F пел. Hom, Breer ]»mei; Prince Joflcst Headier Jean McKeniie, < yndi NewtOtl, Kaiha Ohrctlit., Rico Telles, CJjvton ШэчПсу. KDRQ rtoductians 1389.
Overrated B-horror scream-queen Quigley (famous for her turnb-srnFied,inc? in Return the Living Dud) dishes our self-ierving imn sense lor video distribution, featuring clips from her movies and Lin лез making simple-minded jokes as she docs 'calisthenics in a metal-studded bra and Ash net stockings. 1Ъс middle segment find?, her jogging innocently through i graveyard, when a gaggle of zom-bjet incyplicahly rise from (heir graves and pursue her. They're sup-pnsed to be crawling from their ramhs, but are obviously just standing up from lying ground in rhe graas. They finally overtake her at a swimming pool (ratheг implausibly, since they arc stumbling abnp Jowly and she is jogging), where she confronts them with being out
/ itWtg- 4	105
□f shape; “J list because you're dead do you think you can let your scIvce» go?” Then they all begin a coordinated exercise rouEine, They manage all righr with ,:Lrhe jerk” and *ibe swim," bur rhe dead arc especially bad with kiiee-lifts, Though rhe exercise foutioeaare just redious. enough tn huggest an off-hear work-out video* rhe camera angles and jukes presuppose more of an adolescent male couch audij ence.
Ut/fttg a Zombie Dream
Dm Todd Rry nulds. Pruffj Tudd Reynolds, Sereenpijy. Todd Reynolds.. Qrst: Amon Elsey, Michelle White, Mike Smith, Frank Alexander Borderline,. 1^6-
HoVi do you stretch forty or fifty minutes of iffy footage into л feature-length film? Possibly by repeating scenes over and over in different combinations, and marketing the disjointed mosaic as sTream-of-ccmsciousness. Here our troubled, unnamed protagonist (Elsey) canT parch up a failing relationship with his significant other (WhiteI, еп parr because of his increasing cannibalism and zombie* dom. His zombie brother (Smith) and a zombie psychopath j Alexander) appear ro him in dreams and follow him around, drawing him deeper into their Dnnncr-Jike diet In the .ibstncr of even the most rudimentary dcraih of rhe protagonist^ life (background» profession, etc.), though, it’s a little hard to ennneer rhe themes of alienation and cannibal ism-as-empow crmerit wiih specific anxieties, Eracrured Splices of the individual scenes., which are surreal and virtually devoid of dialogue to begin with, are tiddly juxtaposed with one another, over and over. The shoestring odyssey is hardly a Lucasfilm production; the few uaines in the cast credits ate reshuffled to farm the technical credits.
The psychopath (credited as the ‘‘Zombie Lord’’) kills the pro tagonist’s brother and drinks hi5 blood. The brother comes back as л mangy zombie with hamburger complexion, gnawing пл human, skin and intestines whenever he finds a donot When he complains that what he cats only falls out of his open abdominal cavity» rhe fraternal protagonist obligingly sews him shut again. A voice-over periodically explains what it feels like to he dead» often ng insights such as “Flies have laid eggs, in my skull. I he narrator at last resolves a running tension between whether he should eat the flesh of the lh* ing or the deadi apparently» one should eat [he flesh uf the dead, and drink the blood of the living. Hut then, there’s more talk than stalk,
10й LriMWff Did J ifl Thfryo Иду
and the zombies don г kill any more victims than the living characters do. so flic whole question is icademic.
.f-miH‘4 Dfdd1 at the \la.n»:bestrr Vfo^gwe sec Let Slrt'frrn^ Corpse* Lie
Living Dead in Tokyo Bay
Dm (Gairal Kazuo Komiau. Prod: (Gaira) Kazuo Konuzu. 5с7«пр1ду: Kei Dai. QiJtiGurei Suzuki, К era, Hfiiibo Hayaw, Kesri OhMuki. Japan 2» W92
As if Tokyo hadn’t been terrorized by enough monsters, Romero-cs^ut zombies flow jdd to their гапкъ in 1 comic-book action-ad wa-тиге кагигсн A meteor crashes off the coast of Japan, releasing a gaммju& cloud that kills everyone and then reanimates them as ghoulish undead. Since the pl ague spreads like wildfire, the army is forced та section off rhe entire city, killing anything that tries to leave the pcrrmctcL Resourceful heroine Keiko (Suzuki farmed with hugegnns. clever gadget^; and map-like prowess, is. the Snake Plissken 'if this Japanese Escape from New YbrA. She teams up with a handful of rene^-ides to combat л corrupt military general ns well as the 70m-bws- East Asian action movies always have lively choreography, but low-budget effects and goofy cnstumrs arc devastating for д science-fiction apocalypse feature such as this, unr,
All corpses tn the Tokyo area rise as cannibal zombies, due to radiation frvni the meteor (the "DNA-diiicged. atmosphere*" К They range from fairly normal-looking 1 freshly dead} to greenish, wnnk.ed goblins, (vintage). They weave and sway with difficulty,, arms OUC-sTieiched6 rasping, deeply and dryly. Oflly in я few scenes are the zombies really rhe central interest, since the riujcjr battle; are between Keiko and human opponents. There's nothing especially interesting яb-ou11hr*;г undead, except maybe that [Hrit'apoc'dlyptK Tukvo offen a jdigh c change of backgroutid ъегпег).
iLooffieS rjfl ftroailway see Autnbitrs on Rrvadway
I he Lost Brigade
Dtr. George Hkkenhmptr.. Frcid- Br?d Knevoy, Sieve Stabler. Screenplay: Mitt t>rcrn.hrrg. CjJf; Corbcn (к’тпчйп, Adrian Pasdar, Raj VGise, Cynda % ilLtamvpKjQ^rr Wilson, Martin Sheep. Mown Piet Ltft Corporation of Am»-jW.
of /Ье I tvmg Dead 107
In this slick Civil War period piece with пяте stars, a high budget, and lofty aspirations, a Union tracker IPasdjr I and a Confedrr* ate ROW (letneca) must team up ro find the mystcrioof Alabama 51st, а supposedly extinct regiment causing much undue mayhem on rhe Kentucky-Tennessee border. With the assistance of a mute but telepathic runaway slave (William»)* they learn that the massacred platoon was revived by certain “Makers/ dark forces unleashed in Africa and brought to the New World by slave traders. 1 he Makers dwell in subterranean runnels, feeling off rhe weak and ' making" the strong—that is, reviving [hem as undead cannibals. These beings roam the earth ar night, indiscriminately killing people from cither side of rhe Mason-Dixon, slowly raising an undead army. After much care* ful build’up and creative mythology, they arc disappointingly eradicated with old B-horror staples such as running water and silver bullets. The movie features strong conceptual underpinning*, though it’s з lirde dragged down by tritely ovtr-demoniied foes..
The undead Confederates are like xccnbic* in some ways, like vampires in other ways, and like crude backwoods yokels in niuit ways. Though said to be soulless, they retain their memory and personality, with the additional knowledge and power of primal super-natural forces. They feed on humans and small woodland animals, and those bitten also become infected (well, the humans, anyway}. The film poses an interesting ideological paradox in conflating the racist Southerners with black African spirits; the Rebels advance to rhe bear of a marching dram juxtaposed with an African drum., and they even decorate themselves with tribal war paint while wearing CSA uniforms. All in all, though, rhe careful conceptual framework behind the undead soldiers is wasted on the foul-mouthed, brutish riff-raff they Currt our to be, Surely primordial evil is something more than concentrated red леек energy.
Alternate dries: Ghf)$t Brigade^ Grey Knight. The Killing Ro*'
The Love Wtittga sec Oranga
The ALrn uhf/j tfw Syaf^eftc Brutw see BfuotZ of Gbdsify Ялгтг La Mansion de lot muertos ihrimta see Mmw uf theLnwrg
Mansion of the Living Dead
(Orig. Lfl fflfjrtsirfrt de Ah muertot vwienies). Mir: Jesus Franco. Nord1! D. Khunne. Cast. Candy Coster, Robert Foster, Mabel Esciino, Eva Leon. Albino
103	IdrwfHg LSfcxJ
Grazijn, Majuie Kaplan, Jasmine HHl. Golden Films Intern де innal (Spain), 1982.
Je*s Franco, norcrfiQiis fo r movies un women in prison, sex crimes of rhe SS, and other tasteful fare,, caches in on de OssortO^ success with own sordid b-jui-bi of the Blind Dead rip-off filmed in the Canary Islands. Tne spirits of the Spanish inquisition live on in an IfTth-century monastery at -in isolated tourist beach region, where they offer human sacrifices, when available, co rhe devil Four nymphnmanic w.litrcMtscome to unwind but instead fall prey to the monkish ЕОГП." hies. The unhelpful hotel manager, who keeps his starving wife chained to a wall and who is also one of the undead monks, becomes, convinced that one of rhe four women, is rhe incarnation of a certain princes whom the monks have long awaited to release them from rheir curse. Certain features of the movie are unusual—for instance, norh in g гл кеч place .it night {the moonsterv is at least as brightly lie ns the hotd}, л rd the monastery is clean and well-kept rather than dusty and crumbling. The film is marked Throughout, however, by ,i disturbing hostility toward women: they arc sexual objects from start to finish, and rhe voyeuristic impulse would seem less offensive if ir weren't accompanied by unashamed misogynistic violence. Jess Franco, who plays jazz and speaks six languages, annoyed his family of eminent writers by giving up his studies in law and philosophy to crank out formula sexploitation movies bs the score. He is by far the пинг prolific of the Eli горели sex-horror directors, with э rew nd 150 full length features.
1 he zombie Inquisitors van in their physical appearance—stwne wear goofy эки II masks*, while others simply have whit looks like mayonnaise smeared on their faces. In their white cowls and hoods, standing around the room, the munks force sinners (Le.t womenj to their knees. and make them stand trial for their crimes. They are invariably found fiu'Jtb gang raped by the grotesque cum hies, jnd rlitin slabbed to death, rhe monks say they arc guided by a "Satanic decalogue," and openly pay homage to Kour father who is in he IL” The hotel manager refers id their continued existence as a curse,. and in fact rhe chccdcss monks seem more resigned than libidinous as they ritually rape the accused (they even keep mumbling prayers rhe whole timel. Depraved, unlikable, and artless, France’s inquisitorial zombies are among the ideological j.nd aesthetic low-points, of the species.
МдомА of fcW 104
Messiah of Evil
Dtr. Willard Huyck. Prsx/t Gloria Katz. Sc-reejjpJ^Y: Willard Huyck. Gloria кдгл Gasf: Michael Greer, Mariana Hill, Joy Rang, Anirra FnrcL Royal Dane, Elisha Cook Jr., Charles Dicrkap. V/M Production,, 1972.
The makers of Arnrriew Graffiti (1.97J) warm up with a dream' like talc of descent into madness and monstrosity. Unsuspecting A rimy (HillI travels rts a. small coastal town in California to track dowe her estranged father, but finds that somehow things aren’t quirt right г hes missing, and the locals arc all mutant cannibals. With rhe help of a suave travelling playboy (Greer), vhc pt-netrares the conspiracy of secrecy and uncovers the town’s dark past. It seems that я century before, a certain “dark stranger,” who crossed the mountains with the Donner parry and partook of human flesh, placed a curse on Point Dune and threatened to return after a hundred years. Now the catife population of soulless cannibals holds rituals and lights bonfires on the beach., awa iti ng hts return. A Hetty relates all this from an insane asylum, indicating at rhe end that the stranger has in fact returned, and that the evil will now spread from the town and slowly make its way inland. The heavy, lugubrious atmosphere is fraught throughout with disjointed images and an unshakable sense of the uncanny. There arc certain logic and continuity problems, but the movie’s two main protagonist deaths (in a supermarket and a movie cheater) are superbly executed, and the theme Hong is unusually haunting,
Just about everyone in rhe quiet town has succumbed to rhe ancient evil that is slowly manifesting itself. They have become mere ihclls of their former selves, moving as if in slow motion and always giving the impression that they’re up to something, Actually, the two main things they’re up to are eating flc^h 1 preferably human, but they're not too picky) and preparing for rhe return of the dark stranger. The process of becoming one of these zombies involves bleeding from the eyes and becoming insensitive to pain. Bodies must be burned to prevent them from returning. Memorable moments include an elviflj inbred villager snacking on a crunchy mouse, and a group of the peckish townspeople tearing into the meat section at a supermarket hke pigs at a trough.
Alternate titles: Dead f’eopte, Re. twm of the Living Dead, Retwff of the SereJMHHg DejJ, The Setutid Coming.
rhe Midnight Hour
Drnjnck Bender. РгаЛ Ervin Zavada $ер₽еярйгу: Hilt Bleach CtfJl: I ce Montgomery,, Jonna I.rr, Shari Вс I jfontt-l larp^r, LeVdr Burton, Peter EfeLuod* К Гн in McCarthy, Dedc? Pfeiffer, Dkk \дл Глгел. American Broad casnnp. Companies, 19M-
Even zombie complensts will have a hard rime stnma.chmg this iamt made-fur-TV' drivel, which un apologetically attempts tu cash ш on the ^ucce^s of Michael JncksonX “Thriller* video. Bored high schoolers in Pitchford Ccjvc, 4 small New E'ngland town with гсмПЗ in rhe days of witchcraft' and Wolfman Jack for a DJ, read an ancient afrull of ьiJniniKiiiirtg in die graveyard, un J4alfawce.n night fq-r j lark. The spell commands the demon1- tsf hell to appear and rhe dead co rise; “I.ifff to the dead> dciirh to rhe living.'1’ As in Children Shouldn't Flay With DfW Hz/ngi, the joke spelt actually worksT and a bizarre range of ffends present themselves: rhe rotting dead crawl from their graves, an ancient, witch returns as 3 vampire, J werewolf or two come out nt nowhete, arid meet frightening of all, a perky ' chcei leader shews up to ilut with geeky protagonist Phil (Montgomery!. These fiends begin to visit slaughter upon rhe town, until РЫ1 dispels them J.1C with i ecninrenritual. The idohl comes across largely as a string of parody and homage rlcmcTits from B—horror and other tnc vies, right down to Sandy from G/eeser. “Eight is Enough.7' dad Dick Van Patten is л vampire dentist.
The Midnight Hnirr focuses somewhaT nnurc on the vampires, who represent the serious threat, than on rhe zombies, who art mostly the burr ut jokes and parody. These parodies aren’t especial К subtle or sophisticated,. either. At 4 teen kcgger+ an ugly dwarf zombie put£ on sunglasses and drinks. straight our of rhe punch bowlj another ill- mannered stiff stuffs hi к face with popcorn and gruffly mutters, "Popccrnf'  and a zombie couple make our on the couch, the decomposing man trying to grope the decayed woman while she swats his hand away. No Swiftian satire here. The part)’ culminates in a synchronised undead dancing scene i fa Michael. Lead acEreas Belafonre’Harper sings rhe song, “Ger Dead,* which was dearly intended to he abstracted as a music video for MTV—but I never saw it. Only ar rhe end are the creatures employed briefly for serious effect, when the zombie army slowly .idv.inccs against Phil and Sandy. There’s also an operatic pageant of zombies in one offbeat scene mo red with a classical ana, featuring bride and groom zombies,
.Mows/zufi/y til
undead г evolution лгу soldiers, and a disconRiitfd dead milkman pouring out his milk.
Mistresses о/" Dr.Jekytl see Dr, Orfoff's Monster
Lus Mornitii d< Jto sm ГЛе Мнмтш of Guand/ar^fo
Master High
Dir; Rudiger Poe. Prod: Erie Депи, $<*геечрЬу: Roy Laiigsdon, Jnlin Platt. Qj$n Dean landuli, Diana Frank, David Marriott, Ruben Lind. Scan Haines^ Divid Fuhrer, David Rioch. Catapult Pr<»ducofHi5d'[ iphr>r2r Fmenammcni:, |9E9r
Space criminal Armageddon (Marriott}, who plans to destroy rhe earth as iuon as he's done harassing some high school kids, kills a prep iRlochi bi suffocaring him with an enormous condom, and then revives him as a cannibal zombie. The zombie is rhe sublet oi several juvenile gags (e.gr, when someone recoils from him in horror, he sniffs at his armpits), until Candice (Frank) impales his head with a flagpole. Another student (Fuhrer) bitten by him also rises, hut Candice deanimates this one as well, by beating his head repeatedly with a book. Indeed,
Monster Hunter see Zo?nl7rf 6; Mowster Heister
Mofls/rosify
Dtr: Joseph Mascrlli. Prod: Jack Pullekfcn, Dean Dillman |г. £сггекр/ф; Vy RumcII. Sue Dwiggins, Dean bill roan |r. xMarjorir Eaion* Erika Peters, Frank Gristle, Frank Fowler, Judy Bamber, Um l ang. BflKIMO Films, 1963.
The cmcmiitDKraphcr of Stickler's incredibly Strange Creatures U'bo Stopped Living and Became Mixed-Up Zombies J i recis a deservedly infamous biomedical horror. Three women are imprisoned by cranky old Heddy March (Fawn), who seeks a nubile young body inro which <;he hopes to rratuplanr her brain with the help of her disgruntled, basement-dwelling mad scientist Dr. Frank (Gerstlc). Ont woman is given a cat’s. brain, while a wolf-man prowls about the estate from j dog-brain implant that went awry, this riotous potpourri of horror motifs features surprising cruelty to the prut ago-nuts, but crusty Mrs. March steals the show as she makes the young women try on clothes and prods about them with her cane, coldly inspecting the body she soon plans to rnh.ibir.
112 Tfeg Altfof	________________________________
She front jrtjtLt subjecEs who aren't .ibaulurdy fresh, since “brain deterioration is too extensive for thought processes* khis is rhe car-litSL explicit statement that brain decay accounts fur the zombic^s diminished intelligence, which Romero will later render •canonical). One woman frank brings back from rhe dead must not have been too fresh, then: ma1 nine only basic motor functions, the “walking,, breathings z^mbic-lik r efeatufe" wanders a round the cellar laboratory in her white robe and bane feet with a blank stare. She soon meanders out a door accidentally left open and if torn tci pieces by the dog-brained wolf-man. Good srulf.
Alternate tide; The A fantic Eraffl.
J.j Mkrrfc uivieute ice Th? Gj.Titr People
The Mummies uf Guanajuato
(Ong. JLas de Giuw/uzto). Dir: Fed r neo < и rid fredi I Qis Quin-isnilla Rien. SertCnptay: Rnpclin AgMMlKh». CflSf; Blue Demon, Mil Mat-cams, Santa, Elsa Cirdfrta*, Jumn GalhjrdD, Jorge I’jri^biino, Prlfuuln Latinaism^riCftnas 4 Mexico), 1970.
Mexico is .in a unique position to capitalize Ort [he Hollywood zombie and assimilate it и uh its own indigenous culture, because of certain remarkably preserved cadavers in a town north of Mexico City. I he mummies" of Guanajuato (not wrapped tn bandages like Egyptian muninucs) arc л famous tourist at tract ion, featuring naturally embalmed bodies that have been preserved as gaunt, gruesome figures twisted into contorted positions through the chemical prup-erties <4 the soil in which they were buried. This would be a beauti-ful opportunity us create a zombie movie wirh anthropological and EiLtrnrictl resonance, but—no big surprise—actually it turns out to be lirrle more than the backdrop for another wrestling marathon. Among the preserved bodies is a certain “Satan,1" an antiquated grapple г in tattered red wrestling rights, who was cheated of rhe- world ehumpi-enuhip title a hundred yean ago by the ancestor of El Santo, And who now returns from death for a grudge match. A small platoon of zombies reaninute along with him to spook locals, Blue Demon, Mil M^s-Caras ("I hou^and Masks "J, and Santo pummel away unsuccessfully at rhe indesrructibk zombies for a while, until figuring out that they're highly flammable. The victorious athletes rhtn run off ro Benny's or something for a hire to cat.
Al м /яя/ 113
The zombies aren’t half had—wretched, grisly forms with deformed features and patches of long, straggling hair on their bald heads. Apparendy due to some chemical loophole, though, their bodies from die neck down are perfectly preserved, still pink, smooth, healthy, and highly unbornbid ike. However ferocious they look, Lhc fiends arc pathetic fighters, swatting feebly at the masked protagonists. while off-screen toky artists clap sticks» together to product striking sounds of monotonous regularity. Why ir rakes an entire triad ot wrestling heroes to defeat these dura-flame zombies is anybody*» guess,
£/ Att/Mifo de fo$ mwertos see ТЪе L®W of the Dead
Munecos in females see The Curse of the DnH People
Mutant
Din Juhn " Bud" Cardos- Frcwf: Kanfcor. Scn.wjpAiy Peter Ortcn, Michael [ones, John Kruize. 5/ory; Michael Junes, Jahn Kruize. CjJ/: Wings 1 lauwr, Bn Hopkins, Jody Medford, Lee Montgomery. Man Clement, Jennifer Warren, Cary Cuffey. Laurel wood Production», 1984.
This fairly humorless and uncomplicated zombie invasion exercise, though less bothersome than half a dozen others of its kind, is still derivative and unnecessary. City hoys Josh (Hauser) and Mike (Montgomery| roll through a small Southern town on vacation, hut quickly irk local rednecks and zombies. Josh |otns up with school’ teacher Holly (Medford) to expose the evil goings on nt a certain “New Era* chemical waste plant on the outskirts of town, which is responsible for rhe town’s entire population becoming either mutant zombies or fond for the mutant zombies. Production values arc just solid enough to keep the last half of the movie (the zombie invasion itself) vigorous, though the shocks and general story line arc more than familiar.
After contact with rhe toxic waste, the victims become ill and then finally transform all' ar once into pullulating blue meanirs. Surlier than the average zombie, ibese growling brutes steal blood by rhe pint from the local medical clinic when no victims are available. Their couch is corrosive, even rating through glass (though this motif isn r really sustained consistently). The zombies feel pain and can be killed with gunfire, though they’re ptetry rough and can swallow a few shots first. They’re also highly sensitive to lights and can be driven beck
114 Aly Bdv/fil'fjJjs /fjck
v*ath car headlights- Otherwise they correspond tottanthrd i№tiuiB of zombie behavior and appearance in most respects. grasping mi nd-lessly through windows» with hand* -0 nd fin^cra waving around like cilia г The dos Lug sequence presents a well-executed zombie onslaught fraught with tension,, и г burdened by епшк relief ur facile one-liners.
My Boyfriend's Back
Din Fk>b- BrilahArt- Prod: Sean 5. Cunningham. Screcwfrioyi De in l.nrey. t JJf: Andrew Lowery, Traci Lind, Danny Znm, Macjhtw Foxp Paul lilrxdey, Aumju Pendleton» Bub Dithy. TuuchsEoATj 19 У J
Touchstone'* light-hearted zomfoe-nerd-winds-up-with-h-ome-conii ng-queen roman tie comedy Й creative and playful—in fact, kft so innocuous you'd hardly guess it was produced by Srin Cunning* ham Friday the 13f.fej. In a convenience store hold-up, lohnny Dingle (Lowc ГУ) takes a bullet meant for his childhood crush Mii$.y McLoud 1 Lind|, After the funeral be crawls from his grave as л iuni-hieand tries to reintegrate him sc is with the community Missy fills for iambic Johtmy despite herself, as he struggles to overcome prejudice against the undead and tries bis hardest not to eat too many people, Johnny is plagued by two mam wornes^decaying and being a cannibal—both of which threaten to render him even mnrr of a soelliI outcast at school thin w hen he was alive. He has to eat human fltsh co keep from rotting, but really he only wants m remain fresh long enough m cake Missy to rhe prom. Like Paul in Afy Zombie Lover> Johnny is inm between caring tor Mibsy and hungering for her flesh (cannibalism м a thinly veiled metaphor for sexual desire). Aly Boyfriend's Back is unquestionably wittier and smoother than the other zombie romantic corned tea of the late '80s and carly ’90s» and it also makes explicit all the adolescent anxiety metaphors only suggested in them it.g.» decay as acne and zombie as outsider). The dialogue remains pleasantly challenging and surreal ("H’s not her fault—she was taken in bv his wily decaying ways” . hut the movie becomes decidedly syrupy,
In a sequence set in heaven» we learn that Johnny was allowed to return ns 1 zombie because someone теме J. up in the heavtidy bureaucracy» and tn such cases the victim of the blunder is allowed a second chance at Iite» as j zombie. The entire peariy-gatrs episode is presented in an antiseptic» pastel heaven of the Georgs Bums variety, and the zombie concept is reduced to a cheesy “second chance to do
My Znmbff L<?iw 1IS
Trid Lind overcomes local prejudice,. agreeing tn ro iu 'he prom with Andrew Lowery despite his recent death. Mv воу/ллкГ4 Kacfc (1993} is the best of the inexplicobly popular fcumbic romantic comerliei of the lat* НОь and early '90s.
good’ theme familiar from other saccharine famil) comedies such as Caw WiJtl. h this what the zombie has become?
My Zombie Lover
<Episode. Monrten). Din David Misch JW; Rill Siegfcr- Tch?p^ David Misch. i’foryr lidl Burnett, David Mitch, Cwt! Tcmpestr Bledsoe, breve Harper, Ed Wheeler, Marcella Lowery, higcmr Byrd. Laurtl Production, 1 В8.
This comic episode of the light-hearted cable series “Monster,^ rchres a budding living-dead high school romance betwea “ Vanessa*’ from The Cosby Show and a disfigured zombie. The о pen mg scene shows Mr. L^mcsh rrnifinely boarding up the doors and windows as
lie Nrt ht'ruuHxJ
he prepares co go out shutting zombies on rhe "Night of the Dead/ (he one night of rhe year when rhe dead rise from their graves to feast on the Jlr±.h. [if rhe living. No unc knows, apparently, whether die phenomenon is -due I о a gypsy curse, nuclear resting, or shoddy embalming techniques. The entire family goes zombie hunting except for inrroverted bookworm Dotrie (Bledsoe), horne from her first semester in college. Shy, stiff-limbed Paul Nichols—who was killed in л u ir accident and is now a grotesque zombie with a bedraggled Wesleyan sweatshirt^camcs to call on her with a bouquet of flowers and a big smile. Immediately she calls rhe "zombie hod me./ and a recorded message tells hers *|f a zombie s approaching your house, press I, If a zombie’s in your house, press 2. If a zombie's eating your body, press 3. "Lonely and dissatisfied with her own social life, though, open-minded Dottie eventually Ices him in and consents to a kiss, jnd soon they're charring away m each other's лггпч. After they come home, Dotties parent» have trouble accepting the mixed relationship until Dottie dies and becomes a zombie also. The zombie lovers fall into each others arms, even if sort of stiffly.
Netherworld
Dir. David Schmcfllcr. Prod; Thomas Bradford,	Billy Chicago,
Story: Billy Chicago. Charles Bind. Gw/; Michael Bcndfftri, Denise Gentile, AnjBMtK Comer, Holly Gloriak BuLktI. Sampson, KobtrE .Burr. Full Moen Entertaiiimrrn, 1991,
A few sporadic zombie elements grgtee an unremarkable Dixieland shocker from dubious l ull Moon studios. Corey (Beodctti) crosses over from a Louisiana ca th oust? into another dimension to reconcile himself with his dead father Noah (Sampson), only to find his father an evil zombie who intends to trade Corey's soul for his own /Christ died for hk daddy—what are you complaining about?”), Back in this dimension, Noah winds up a zombie parrot with half its Гэсе missing. Folly want some brains?
see Zombre Aei/rrige of r/v House of L'sber Aerrrjs? see Zonrbie 5, Rettn^e o f tbe House of Usher The Night Andy Came Home sec Dead af Night A Night in the Crypt sec One Dark Night
Nigbt (if t/w Creeps I17
Night Life
Dir: D.Bid Accmha. Prod; Charles Lippincott. ScFrffHpJay: Keith C ritchlow.
Scnti (i nines, Cher)11 Pollak АпЛопу Grary» A I.in Blumejikld, ]ohn A-stin, Phil ГгОСЕОГ. C restive Movir Marketing,
Cretins, chase each other around for ninety minutes in 3 routine and laborious living-dead exercise. Unpopular Arc hit Melville (Grimes) hopes to leave hi* one-horse town by working fur his Unde Verlin (Asrin , the crotchety town mortician. Л carload of high school bullies die in 3 wreck and return to life because of a chcmic.il spill ur because the тспиагу is hir by lightning or something. The revived teens immediately rake to killing at random, primarily targetting Archie and his friend Charly (Pollak}. 'Chough sole mb I у well acted .1 nd directed» the script is spiritless and the mu vie leaves no lasting impression.
The four zombie high school nverowders are speedy and dexterous» but their mental capacities are a little hard to determine. They displjy general cognitive competence and can play rapes and drive vehicles, bin they don't speak* and [other than having sts with each other in one brief scene} they exhibit no impulse other than pure homicidal aggression. The cadavers arc unfazcJ by gunshots and minor bodily damage» but can be deanimated by complete physical trauma- explosion, head split open with axe, or being run through a wood chipper, for instance. I he banal movie devotes almost no attention to the zombies themselves» preferring to focus on rhe meandering dreams of starry-eyed teens instead.
Alternate ride; Grji e
Night of АмнЬй sec Nigfor of Liviwj ПлЫ (1968)
Night of fbe Birttd Dead see TojhAj of fbe В Jiff J Ltedd
Night of the H/ootif Cult see AfigArf of the Seagulls
Night of the Creeps
Dir'. Frtd Dekker. Ptod; Charles Oirdnn. ScrerftpJjy: I red Dekker. ( Jason Lively, Steve Marshall. Jill Whitlow, Tom Atkins, Allan Кл^ег, Wally Taylor, Bruce Solomon. Tri-Star iV-turet, 1^86.
118 Night uf tht Ctttpt
ProiC-bo-und jBpl Ц hitlnw and JdSOrt I ivdy stop off tn combat zmhici and alien y- irh л hlowtarch (N^r nf the C tv fps, 19ft6p+
Clever and lighthearwd, the vaguely titled N\g/tf cjf the Creeps updates the old. \5Os-style ^monsieramok-on-campus44 movies with a colorful array of fiends and plot rwisfs. Christopher (Lively} and J.C. (Marshall) accidentally .release an alien slug parasite from a man kept in cryogenic suspension; rhe mutant slug’s offspring spawn in people's brains and turn them into zombies until their heads explode, sending out dozens of new slugs. Chris teams up with new love Cynthia (Whitlow) and troubled police detective Rly Cameron (Atkins) to combat the growing menace. The slugs inhabit the mangled bodies of a crashed busload of fraternity members nn their way to a fob-fiiril, and the entire troop- decked out in blood-soaked tuxes and Cummerbunds—besiege the nearby sorority bouse. Classic motifc (тот such movies as Flm Nfoe from Outfr Space and 1'he ВЫ blend with more recent ones from 1 he Wrath of Khan and Datm и/the Dead, while nerds triumph over jocks .and a whiskey-s&akcd,cop faces up t<} hi$ past. Го hoot, pcssr^cd dogs cough nr alien slugs mm people's faces. Zesty.
Nigfcf nf Etay... 119
The zombies are merely breeding grounds for ihe slug eggs incubating in their brains. \V hen a slug enters a living host, biological func-tions such, as the heartbeat cease. bur rhe subject remains sentient for ar least a little while longer, thus J.C. leaves a brief account of his o^ti deteriorating condition on tape, shortly before his head explodes: “I can feci it ... it’s in my brain." Most of rhe reanimated corpses don't seem so much hostile as confused, bur rhe fraternity zombies at rhe end pretty clearly have murder on rhe mind. The make-up is convincing throughout, and the operative allegory of campus Greeks as zombies, if a little obvious, is far more capably handled than in rhe foil owing year’s
Alternate titles: Creeps Homccomm? Nighf,
Night of the Day of the Dawn of the Son of the Bride of the Return of the Revenge of the Terror of the Attack of the Evil Mutant Hellhound Flesh-Eating Subhumanoid Living Dead, Part II
FifrHmakfn Luwdl Mason IpsruJ]. Jyvasi Productions, 1992-
Like Woody Allen’s WWs Up Trger Ыу#> this biiarre amateur spoof of Nigd?/ was made by keeping rhe him itself intact while dubbing it over with entirely new sound and dialogue. Revelling in its own sacrilege, rhe film rethinks scenes and relationships, with occasional touches of ingenuity- I he scene in which Harry fir«r goes down to the basement to rejoin wife Helen and daughter Karen, for instance, is classic; here it’s. redone is though they re only meeting for the first time* and Harry tries to pick her up while he stam going through her purse. Upstairs, Ben breaks out rapping periodically, while Tom is convincingly recast as a surfer dude. The tense m-lighting becomes a running debate about who's going our for pizza and < annul is Ben’s most heartfelt monologue in the original -Nhgb/. in which he describes what’s hjppencd to him so far while dismantling Furniture, here becomes a none-too-$ubt]c pick-up spiel as he tries to hit on Barbara. With an intent look on his face he woos her feelingly: ”1 want to lay your naked ass out on the floor and just just sail into you like a caboose* mama [gestures with hand|.... But a gen
12(1 NijjM э/ the hiring If read
tie caboose—a gentle one." Though certain scenes are redone creatively, however, the film generally loses momentum as it goes on^ and the rhythm rs periodically broken by random interludes tgratu-lcolj-s dancing slliils and Itfte jolcefe). The scatological humor requires a certain mood, rhe Howard Stern-like racial humin may not hr tunny to all, and the light-hearted treatment of rape is offensive. In fact, the script is marked ihmughour by л violent undercurrent th.it doesn't always come across a$ tonguc-in-cheek. Presented in “Shocking 2-D.H
The zombies ire simply rhe overworked and underpaid—they arc the work, force of America, the 7-Eleven clerks and executives and gas station attendance A psychiatrist on TV explains that ninety-nine percent of the work force is on the verge of becoming overworked zombies, and only the smallest snap is enough to push them over rhe edge. The zombies mil] about, muttering about having to be up early in the morning, not getting a raise, need mg a vacation., etc. f ।rasping after (he pickup truck, they ask fur a quarter or a lift to the bowling alky. In other words, the metaphor implicit in the original Ntg/я (and in all zombie invasions) is spelled oni in black and white, for the benefit of rho&e who haven't caught on,
№ghf of the Death Cult see jVtgfrf of rtw Seaguffs
Nig/jf of tbe Flesh Eaters see Night of ihe Living Dead (19681
Nigbf of the Living Bretid
Dir. Kevin S. O'Brien. Cdif: Vince Ware, Katie Harris, Robert J. Saunders, Gma Saunders, Wnlfgiing S, Saunders, Stephen R. Newell, Stere Hr inline-hausen. Films from Hell, 1490.
It probably took ten dollars and nil ot forty-five minutes, for Oh in Universal у students to grind out this unfunny spoof of Night. Johnny (Hcnminghanscn) and Barbra (HarrisI pull into a cemetery,, where a slice of white bread lying un the ground kills Johnny by flying up and adhering itself to his face. Barbra flees ro an abandoned house and meets up with some о th its, who secure the house by taping sandwich bags over rhe windows, and who ward oft rhe menacing; slices of bread that lie scattered across the lawn with a Toaster and toaster oven. Eventually all the characters succumb to the inexplicably lethal baked goods. The uncomplicated title pun should scarcely have elicited a laugh, much less .in eight-mi mure parody Film.
о/ гАс кгэтод Drad 121
Night of the Living Dead
i)tr- George A. Rocneru. 1¥uJ: Russdl Strciner, Karl klaidiiian. ScrmrpGy: ]nhn Russo. CTtorge Romero, Gsjft Duane Jones, Judirh O'Dee^Karl Hard-nt an, Marilyn Глятпап, Keith Wayne, Judirh Ridlcy+ Kyra Schon, Charles Craig, Bi Li l Einini iJi. кадр Ген, 1968.
Romero is rhe Shakespeare of zombie film, and this is his ffam-/ctf. One of the feu horror movies ru make a Listing con tri but ann outside of rhe genre (apart (rum Hitchcock), Ni'^Ar is deservedly revered by critics and popular audience* alike. Pursued bv i strange assailant (Hinzman—who went on to make his own zombie movie. FJesZwdfrr), Barbara (CT Dea) locks herself in an abandoned farmhouse in rural Ptnnsylvania. There she's joined by Bru (Jones.) and a few other scared survivors, who hoard up rhe doors and windows against growing пигпЬег^ of mindless artackers. The quarrelling group holds out desperately until at last succumbing to the ghouls, redneck posses, and to their own in-fighting. The tension is relentless'; there are no romantic sub-ploE5 Or humorous interlude^, only a growing sense of help Icssness and claustrophobia, the domestic space is explored in derail from an entirely instrumental point ot view—almost every household object is scrutinized, and exposed as cither immediately useful {and not for the use originally intended], or rejected M altogether meaningless. Finally, the crisp, stark minimalism of the dialogue, creatures, and staging provides disarmingly austere subjects ror the Hitchcock-ran cinematography. The low budget comes our in many aspects of production, hut what stands out more is the right control of pacing and suspense, and the unashamed abandonment of generic conventions (boy meets girl, teens- can’t convince authorities, protagonists discover monster's weakness, etc), I he distributors wcmldn t release rhe film until the crew tagged cm some sort of explanation for the phenomenon, however—’hence the references to an explorer satellite sent to Venus bringing back mysterious, high-level radiation, Nrgfef gained a steadily increasing cult following in drive-in and midnight movie circuits, and was soon featured ar a s-pccial scric,4 at tht Museum of Modem Art. Mn*t of whir you’re holding directly imitates or responds ro NrgM in some way.
The word “/-ombic” never appears in the film—“ghoul is rhe preferred rerm, occasionally varied with “ flesh-eating ghoul. Their clothes arc slightly strutted and torn, and л few аге a litde mangy hi the face, bur on the whole rhe fiends appear as normal people. They’re
122	tjfibe 11j	IJedJ
AflCT George Romero's landmark Nisbraffhe I HWjt Л^-rffi 11%&]rtht* zombies are fl*1 ItiTi^tr Afncjin-CsrihbtJin natives, nr ajjcs. invaders: thfv're everyday	ihry're us.
jfrjid of open flame, and when caught on fire, trj to heat it our with their hrtiikh -thus миле ^If-p reservation instinct renituns. They perform other simple insnncrcul reflexes also, auch as brushing a low-hanging branch or clothes line out of rheiг way as they stumble along. They never run, but occasionally stagger briskly. The ghouls consume flesh Фимап or animal—one chewy-faced woman scarfs n gross bug she finds од i tree), and they can only be deaminated bv d^rrovjng rhe brain. From their appearance here, thesr conventions would been [tie staples of zombie lore .
The ghoul5 preserve some basic memories and understanding, such as when the Hinzman ghoul tries to open a car with the handle. Beyond that he uses a brick to smash iri rhe car-dnrtr window, and Others use rocks to smash the headlights on Ren's car. At к st, after building up sufficient nerve, the ghoul horde launches л Concerted attack on the- formhouse, peuncling at rhe dour with clubs and breaking the windows with rocks. Thus rhe vestiges of a functioning human psyche are intact, with some rudimentary intelligence, learning capacity, arid emotion. Though they're slow and unable to think strategically
i
4'rghf of (iv Sedgulls 123
as individuals* their sheer numbers and indefatigability make them formidable a»» group. Niger’s zombies are tin forgettable— tireless, Jawing, and almoST pathetic in thrir simplicity of needs and abilities.
Alternate titles:	о/А^б/у, Night of ffre ПиЬ r^teri.
Night of the Living Dead
Dir; Tom Sarini. Prod; John A. Russo, Russ Strainer. Screenplay: George Л. Romero. Ccuft lony Todd, Patricia Tallman, Tom Ttwles, McKee Anderson* William Builcr, Kate Finnetan. Bill Mosley, Heather МшШЬ Twenty-First Century PrudiutiulHk. 19 4 0-
Tjm Savtiii* famous for his make-up work in Ош;ч? and Day* directs this tolar remake of (he cl assic, r~t , ... en b R. ci 111 c rci The каше иогг is c&scntiallj retold, rhuLij^hi packed with in-jokes to the first, and subtly incorporating societal changes from rhe last twenty years (thus, trying barricade rhe house, Hen is disgusted to rind only cheap plywood doors). Probably the most significant difference is the rethinking of gender role*: Barbara (Tallman! is no longer j passive vegetable, but proves to be the most multidimensional character and ultimately the ninst capable of survival. Measi-while the squabbling between Ben (ToddI and Cooper (Towles) is intensified, and their aggression is explicitly linked with male territoriality Overall the careful build-up of suspense is gone* however: this movie is a desperate race the whole way through. Instead of maddening waiting and slowly mourn .ng interpersonal tensions, this yer sion comes across mostly as я lot of noise, shouting, and screaming. The gore is surprisingly subdued, considering the director. Finally* though, after almost 60 years and more than И0 zombie movies, someone (Barbara) at last notices: "They're $0 slow—we could just walk right past the гл."
Night of the Seagulls
(Ong. Lj HQcbcde lus- jptMOtAi). Din Amiliach de Osorio. Prod: J<mc Angel Santos. ScreaupiajK Amando de Ossorio. Got: Victor Feet, Maria Kom, Sandra Morarowdcy, Julie James. Profilmrs/Ancla Century {Spain), 1975.
The fourth and last of de Ossorio^ Blind Dead chronicles rcsi(-uares the inmks in a castle near an ancient coastal village with crumbling stone houses. For six centuries the terrified villagers have paid
124 Tfttf Night of the Surer ггю , a burdensomr tfdl: every sevvn years b they pay л tribute af seven women to the Wfllbic monks, who sacrifice ch cm to a sea-god. An obnoxious young doctor and his whiny wifr move m the village and «tup tbc curse by toppling, the helpless fish-gud idol from its pedexal. The wagnlis who circle in ihe sky and cry excitedly are the damned suuk uf past sacrifice victims. The bright, sun-drenched closing frame,, rhoiigl1 still accompanied by the plodding and desolate Abril musjc+ implies the zombie menace is over permanently. The fihii conipetcnrly del ivers the usual atmospheric settings,, well-co imposed shots, and glaricr-dow iambics., though overall h*s probably the least interest ing of the tetralogy. 1 he horde of slimy crabs that scamper out to detour the victims* bodies jf'icr the monks have finished with them is a nice touch. De Ossorio eventually retired from his prolific filmmaking career to paint the Templar monks and. nth er weird subjects
Though the coastal atmosphere an J pagan fish-god imagery is new, the zombie monks themselves appear and behave much as m the other films. They exhibit a Trintmum of tool use, recoil from open [Tunic, and ride their ghin»t stallions, Ifrrc, unlike the middle two installments, they seem genuinely blind at one point, a zombie rurns his hend from side to side, waiting, to hear a sound from the nearby victim (she promptly comp lies). One monk is burned eo ashes, and the r«t crumble to dust when their idol as destroyed. Although rhe zombies of i he second film were defeated at the end alsoT here not just rhe zombies bur also rhe blaspheming powers behind rhe tn art confronted and conquered., signaling mare [hzrmanent closure for the Templar Probably for rhe best.
Alternate titles: BMud/cjjf of the Blind Dead* Night of the Bfood Cult, Night of the Death Cuit^ Terror Bosch.
I'he Night of the Sorcerers
(Crig. Lei Fwcfee de iot brafas}. Din Am.tndn de Oesono. FroJt Jew Antonin Perez Giner, Luis: Last? hl nrсп<к &гайфй)г. Amandn de Olluffo. Ossi: Sim^R Andrcu, Kjh Н&пм, M*r£* Kosti, Lorena Tuwtr, Joseph Thebnafl, IMrfijra King, Jack Taylor. Fnifilmcs/Hebperij (Spain), l?73.
Blind beaJ-macstro de Osso ria's unfortunate fern ale vampire feature embodies all that's worst in tfic Euro vamp inovics of rhe period. Л team of wildlife researchers arrives m Burnham, Afnca. sixty years after л platoon of armed white men wiped out an entire
tiigbl a[ the Zntnbies 125
gathering cl native voodoo practitloners. A hokey vampire scantily dad in leopard skin and her zombie cohorts still conduct bizarre sacrificial ghi-rft-rituals. The women of the research team л re summarily killed» only tn return as more cheesy vampires, all bearing their fang* and pctneing around in siow-motion. Fake animal masks passed oft’ as leopards peep out of the foliage while occasional stock wild life footage fills in the gaps. Insulting &c any of .1 number of еде-the Lie and ideological levels, the movie lacks any of rhu situational humor or atmospheric 'effectiveness of the Blind Dead series [the second of which also catnt out in ]У73|.
I he mindless zombies are black-African natives* entirely sub-servient ro the cunning European vampire women who lead the dark rituals. The zombies wear tooth necklaces, animal skins» and frightful tribal masks, л nt ic [paring the dubious ^National Geograph it icim-bies" of cariy-^BCfc Italian cinema (c.g., Night о/ the ZotHbies and Dr. fijth/jcr, M.D.). They appear at night when the ghost rituals begin, slowly crawling from ths stone cairns covering their bodies. Their movements are deliciously slnw, as one experts of de Оячогю—so slow, m fact, that there is a curious scene in which Caritr (Andreu) runs over them in his Jeep, driving hack and forth ro take out a few more, before proceeding on his way. (Though there's no reason to think ir’s deliberate* the way rhe native zombies stand still as statues ш their impractically oversized ceremonial masks «mply watching Carter run over rhem, presents a shrewd parable for colonial ism.) Their ashen* irony faces are moss I у hid dm by masks, while their quasi-ghostly habit о I appearing and di^pr^arjcig without a trace leaves an impression of facile script writing mt her than occult mystery. While the zombies are merely passive spectators who twily procure and bind, victims for the vampires they ar lease maintain a certain dignity completely lacking in their sultry feline mistresses.
Alternate titles Night of the Witches.
Night of the Wehrmacht Zombies see	frSLJ
Night of the Witches see The Night of the Sorcerers Night of the Zombies sec Erofic Nights of the Hi rug Dead1 Night of the Zombies sre	69,3
Nigbt of the Zombies
'Clrig. fa/ггмо titi MiifFtf im wa Dir: Brunn Млгтсъ Prod: Sergio Cortona. Sturjt and Screenplay- claitdio FragaMLj* J.M. ( umllcs. Cftst: MargLt I ^tilvn
1 Night of the Zombie*
Newton,. Frank trjrtidd (Frjnco <Jirjldi k, !к!ап K.arayb Robert OkNeil+ Gaby Renom, Luis I'tinoll Beatrice Film/Films Dara (] raly» Spai г i , 14>SI.
Similar though inferior to Folci1» Zombie 2 released the previous year, this Spanish-kalian movie trace* a small but wclt-ermcd band through n zombie-in tested jungle, Experiments on overpopulation (“Operation Ьтлссг [>c,ith"| in New Guinea go horribly wrong; the resulting chemical vapors bring the dead hack to lite throughout the island. The first victim is a plant worker who gets enten by a crazed zombie rat that crawls into his anti-contamination sun, and su the best scene if, over within [he first two minutes, A SWAT item of idiots M?nt to invemgare the crisis meets up with reporters Lia Rousseau (Newton) and Mix; together they scurry from sire to sire evading the spreading ghoul menace. The imcjvie is largely a quilt ol random foorapp from various mismatched jungle and savanna settings spliced into but wholly uii-confleeted, with the main story line. Though the movie takes an explicitly anri-colonial stance, it consists enfirdy of European heroes gleefully gunning down natives- Like Jess Franco, Mattei is notorious for Nazi-scx and nunsploitation movies,
The reason the problem is spreadings» quickly is that the natives refuse to bury or burn the dead. I he stiff-1 imbed. New Guinea zom-biesgaspand wheeze as they trudge along languidly. Most have powdery white and bluish faces; some have a dry, peeling stucco кюк, while others have black and slimy facet that contrast starkly with rheir white eyes and teeth. They eat fleeh, deaitimatc when shot in the head, spread the dinefl^c by contagion, etc, 1 hry гёспе! from fire, a nd pivsc or even back up a little to avoid blow*.. Otherwise they show no intelligence or deliberation,, and nor even ru drmen гагу rool use. Гп one vr two shuts» the го rubies simply >tand in place motionlessly though there are victims in sight- J'his could be a sign of dormant or non-appetitive brltAvinr, though probably someone just turned iht l.iiii era on before the director yelled “action,” I hr zombie тплкс-up effects and blocking are overall decent, though wasted on such a lifeless script and hopeless cast of characters.
Alfieniate titles; Af?ni£ttip&ii cauibai} Cdttttibal Virus, HdJ of ihe Living D&id, Heil of the Living Dtaih^ Virws, ¥ш« Ldtimbaie, V'fpws— 1‘tnfemo tiei morti /.nntbie Creeping Flesht Zambie inferno^ Zombie of the Saiwttfta.
Nightmare see City of the Walking Dead
Nightmare City see City of the Waiking i^ead
Nudifi1 f'oinny of the Dead 117
Night of the Zombies if see С^инящ; 693
Night Star—Goddesf of Electra svc Wr of the Zombies
Night Waft see Dea d of Night
No profanat el .S«?hq tie las tKuertoi Set Ll-Г .Sft-JpiHg CorfKtM Lit
La Noche de la mu&rta ciega see Tombs of the Blind Dead
£д Nocbe tie lot hmjos sec 7'hr Night of the Sorrmrs
Ln Nocbe de los gaviotas see \i#hf of the Seagulls
La Noche del buque maldito see Ноггмг of the Zombies
La Noche del terror ciego see Тотйй of the Blind Dead
Non si deve profanare i! #>н>ю del morii see £eI Sleeping Copses Litf
£d Noire dei zombi чее Его не Nigftts of the Living Dead
Le Noth del terrare see Нил jf GrownJ
£e Nofti eratiche dei morte mveuti sec Erotic Nights of the Living Dead
Nudist Colony of the Dead
JDff; Nl.irk PirrO. Trud, Mark Headlry. S&eWpUy- Mark Pinro. Cdffc Dcb-nrah Stern, Tony CiixhcftL. RjcheJ Lair, Braddon Mendelson, Jim Bruce+ Barbara Dew, Hrocher McPherson, Prtrr Napoiei, Swvr Wilt-os, Juan Тяпэтпста, Гиггр'Л J Ликггптдтц Ой*ё Robinson. Artistic ккейяе,
One of rhe few zombie musicals, this amateur summer-camp slasher spoof isn’t as wacky •« n thinks ii is. When Judge Rhinehol-e Ackernnanl of Pristine County rules In favor of the Bible-thumping moral majority and closes Sunnybmtneki. \udi<;r Camp* rhe nudists comm it mass suicide and vow ro set It vengeance even m death. The land becomes a Bible retreat *por, Camp Cutchagv^our, where the dead rise from their graves to off the pious campers in various ways. The musical numbers m this hme production vary from catchy to w-pid (mostly leaning toward the kner£ while the diiaioguc is permeated with simplistic ethnic humor. Best line (priest addressing congregarionk “Remember—your children can+t praise the Lord it They’ve got genirah^ in their mourlis."
The ink МШ6 proclaims., “They'll kill and hurt and chop and maim, i Exposing gonads with no shame/ and in a hip-hop number
|28 OifiJ of гЛе ZombifA
rhe park ranger adds* «They be nudist* of the past—and now they're hack tc» kick some ass." In fact, though they’re supposed eq be naked* the zombie nudists' naughty bits arc all strategically covered with large^ flapping section? of ?kin. The unclothed undead art fully ratio* nal, and sufficiently intelligent to cut the phone line io rhe ranger\ cabin and even remove rhe engine from a van (heck, I don’t think l could do that). They also run people aver earroonishly with M industrial steam roller. Other methods of slaughter include usings wire to cut a victim in two, fa rec-feeding a person cement, and i ru fling л Bible all the way into a camper’s mouth.. The zombies themselves sing jnd dance in rtic closing number i "K ill, kill* kill aII- the zealots1"), and are still crooning as they return to their graves to await die next sen son <?F campers. I think that about cavm it; now you don't have to see le (you owe me odc|,
Jni Nuif des etoites ftlantes see A Vi'rjiu Among r/ic Ни ng Dead
Oasis of the Zombies
lOrip;. J.j tambj dr Am mwerttM ririwet). Jesus Franco.
A.l. MLiriaux, Jcstfs Franca. Ciii/: htanijcl Gelin, France Jordan, K’f Mont gumcry, Myriajii Landauji, Eric Saini-Just, Caroline AudfCi, Henry Larnbert. Eurocinc (Spain, France)* НУ2,
Nobody has much guod to say about this; admittedly slow-paced Spanish-French co-production, hut I've always been strangely fascinated by it, A group of student* from London travel to the North African desert seeking a fortune lost during World War П, where a German special task force transporting treasure was slaughtered in an Allied ambush Natives avoid the cursed oasis where the Nazi soldi ers «till gun rd their treasure, hut the students must go in to see for themselves. Massacre ensues. The movie’* technical flaws arc пижг-OU3 and obvious, including floppy make-up effret* and the unlikch opening scene in which two scantily-clad women happen to hr sightseeing three hundred miles our in rhe middle of the desert, Yet К )*r?i5 preterits a simple* unhurried, and unprelending appreciation of zombies and their habitat, л fresh and provocative deseri landscape, I here are some striking silhouettes, with iheir dark forms on sand dunes against dusky pink and riranpjr skies, or blending in with dark foliage; the bright surdiglit vs. dark >shadciw oesntravts within the oasis irsidi arc also visually effective. 1 he zooms became tiresome, bur rhe cheesy Synthesized music, con staring mostly of odd succestions of singlb notes
Оле f.lj nt 129
or chords somehow matches rhe b&rrenness of die landscape 2nd Ic-nd-i rhe zombie arracks a hypnotizing ambience. Some reference works question rhe attribution of this movie to Franco (Daniel Lttoew also uses rhe pseudonym A.M. Frank 01 occasion),
Clad in khaki army uniforms, the patty, purulent Nazi zombies haven’t fared well in the harsh desert climate. They ere utterly silenrg al th □ugh their approach, Is invariably accompanied by a certain groan* mg^ grating sound, like a creaky donr opening or a stick being dragged along a washboard It's never clear what this represents, but its not simply mood ^oiind—the characters in the film hear it ton {possibly the /Ifjrr Witeifr Project ltcw stalking around., playing with their heads?}, The zombie* ire painfully slow and stiffT crawling from the sandy dunes anew ar the beginning oi each new attack scene (appar* ent I у rhe desert covers them up again in bet ween scenes h They generally hire directly into their prry, bur one zombie, who has no teeth because of his advanced stage of decay, has to strangle his victim. Several are ignited with a torch, but they’re smart cnaugh lit nut always quick enough) to recoil from the lurches and to stay outside a ring of fire ignited to keep them at hay. They only come our at night, but either the zombies or the filmmakers have a loose definition of night* time, since they're obviously standing in broad day light in most of their appearances, The condition is supposed tci hr contagious, according to the natives, but none of the characters killed by lhe undead Nazis jctyally come back. The zombie", themselves arc amateurish and somewhat meunaistrnt, but are more than .redeemed by the incomparable desenr landscape and by some creative camera work and shot composition.
AI rr mate titles: Bloodsucking Nazi Zombrrt, El desierto Jc Jos The Grape of the Living Dead, The Treasure of the Lrriws
One Dark Night
Din Thwinas. McLoughlin, Pmd: Mkhael Schroeder. Screenplays Thomas McLoughlin, Michael Hjwcs. Own Mcg Tilly, Melissa Newman h Kobin Evans, Leslie Speights^ Du-nald Hixton, David Mason DanicK Mwbfth Daily» Adam West- The I’iciucc Company, 1Ш.
In this low-budget yer quirky suspense piece. Julie (Tilly) agrees to spend the night with л sleeping hng nnd flashlighi in a va* mausoleum as parr of her initiation imp a snobby high school clique.
IЗС Оилнда________________________ . ......................
Rtctnik interred in the maiusolcum is ntid Russian psychic Наувпдг who exerts ha^ evil influence even from beyond (he grave- A “psychic vampire,” Raymar feeds on people’s "bio energy1' and uses it tn men ясе Julie and her friends by causing coffins to break open and am mating (hr сигрзсь. Though nothing really happens for rhe first hou rhe unique zombie invasion sequence in the closing scene is high]) eccentric. Adm West uF &ИМва fame is depressing as Olivia^ irritable and patronizing husband, Lun a zombie dors him m later ш Zombie Nightmare (1987).
Swinr of the bodies Иаупмг telekinetically ajiitnatM are fresh, while others are virtodlUy reduced to skeletons. I here is no questin of ^enricncE or will; the corpses aic merely moved around like marionettes on strings. Most interestingly, the movie refuses to follow the well-entrenched paradigms of zombie behavior so prevalent m th< early ’80s. The corpses don't walk, but glide along smoothly in rhe an several inches oft the ground, their feet dragging along the floor behind ihenr. They exert no aotonomous bodily motion whatsoever, which inevitably affects their mode of attack; they don’t reach mn with lirtibSt or try to bite, but simply collide with the viaim.-’Ray-mar causes the bodies, to slam into pmplc and pile upon them uninl they smother. In other words., he uses the cadavers as simple bludgeoning instruments and weights, purely physical instruments with no moving panes* ThiuL, in the endt there is а сенат ultra-zombirncss shout these creatures: they are quintessential] у material hulls,, without the faintest ^lirnmrr of autonomous animation. If zombie movies parody normal human behavior by unceremotiiotasly reducing к to its bare essentials,, this movie parodies even normal zombie behavior.
Alternate titles: A. hfrgfrj in the Crypt. Rest т Рсдсс.
JJz О/)=;/л de /оз muerfos sec fteiurrt of the Zombies
Lti Orgia dei morti see Return of ihe Zombies
G/i Orrori del casteilo di Nanmber^a. see Bfoud
Ouanga
Dir: GcQFpE Terwilliger. Prod: GecNge Ttrwilligct Scrvrapfiry: Gcorpt Ter-willtgec Ctrsi: bred I Washington,. Philip Brandoi, Marie Рахтоп, Sheldon I.conard, Winifred Harris, Sid Easrcn, Babr Joyce- Real Life Dramos, 1935.
“'Wfliiga’’ is a more palatable spelling for (he voodoo charm that gives this early zombie snoozer its title, Haitian Ьчпяпя magnite
Оылядо 111
Vfjsjdmn prieiTcis Fred к Washington dans a protective amulet in rhe ufitven xumbie adfcEHture Окяпдо (Ш5К The mulalto aCEtcis eventually leh her promhmg Hollywood career to take up with й black acting company in Washington, ixc., jfLct the motion picture industry began cabling her in inert!singly ^rereertyped roles.
Adam (Brandon) is a hour eo marry Eve (Рлмгоп) bur neighboring plantation owner Cldie (Washington) loves him mj deeply that she’ll scop at nothing to prevent the wedding. Hcrskin is white hut her heart is black—and >ij&ee she's a ho the local ™doo high priestess, -чЪс has no problem sum mon trig dark powers to aid her. She raises two zombies from the grave to abduct Eve. but Adam's mu hr to foreman (Leonard], who desires Cklie Ш madly and vindictively м she desires Adam., confronts her, arid the two J.irk and tormented чинк destroy e,ich other, lhe awkward feature boasts some provocative symbol-ism (specifically, there зге curious twists on black vs. white imagery, both moral and racial L bur ultimiEcly its unquestioning equation of black with evil sits uncomforrably in the midst of д largely black
13-2 Pet Semdiary	_______
supporting casl The movie was shot shorrly after Jhrfr Zombie t hut 1ИЖ released until J 9 35 (in England I and even later in the U.S. Ter-wii liger started rn him in H.nth but was Forced to move the shoot to Jamaica when resentful natives* ironically enough. Left thi crew д real ouanga,
Qw^jg^'s two zombies rise from their open coll ns In broad day lighi, as ( klie makes pulling motions with her hands (as though lifting marionettes}. The native men arc clean jnd kempt and weir nothing but pants* standing with their hands at their sides jnd star ing straight ahead яя Clclie addresses them. Th? zombie pheewmencn here comes across more as hypnotj-sm; *You are powerless to talk or respond to any directions,* she cells them* “save those I give you.11 I But in fact, they follow A Jam's directions in a later scene* when hr threatens them with a whip к One of rhe two undead hl inks in most uniornbit-like fashion while abducting Eve, who ь too busy making the wprit attempt on record ac Acting frightened to flee tlheiir leisurely approach. They are finally sent bat к tu their graves after being sprin^ kled with salt; otherwise, ichs said* they can only he killed with a silver hulkt loh plcasel). Their presence at all is purely gratuitous* since they dco*( do а и у thing any two dines wouldn't have done for a few coins.
Alternate titles; Crime □/ Vootio-o, Drnms of the Jungle... J he Love ТНшдо.
Г art re гл the itiiHU-Sihei-iitn fraiir see /Гп-гттаг firptrss
Pd/iica cm el trattsiberiatta sec Horror Extras
Рдмде netld aitd dei morij viventi sec The Gates of Heli
Pei Sematary
Пгг. Мдгу l^imben* Prod: Richard F. Rubinstein, ^.rurj1 and Senvttfiltyi-Stephen King. Cast: Dale Midkiff, Fred Cwymif, Drlliae Crothy* Blaze Berdah.1, Brad GfCvnquist, Miku Hu^kua, Peter Stadcr. Param-uunt Picture*.., J589.
A Micmac Indian graveyard reanimates thow buried m it as flesh-eating demons with glowing eyes (not я very effective graveyard, all m all|i. In a JMonkey^ Paw^-like flashback story, Timmy Barerman |Studer), kiik-J in World Wur TI and raised bj the native burial site, returnн as si hlnhcnng ghoul* bloodied .md animalisric, throwing his
I he Plague of flw Zombiirf 113
hither around rhe hous« and gasping, '"love dead ,., hate Living,* Zombies are* if nothing clst^ focused and goal-oriented.
Piwfe £w
gr
{Episode,, Scu-гГЛг Pdrfc). CtTtator/Produ&er, Trey Parker, Mart Stone. Strw»-pLiy; Tre> Parker, Matt Stone, Philip Stark. АлйгглЛ'^г Frfe Stnuch. Cram Ktiy Central,, 1997.
The psychotic animated hit show ih.it put Comedy Central on the network map devotes its first Halloween episode to a zombie invasion. Hapless Kenney dies earlier than usual, when th г Russian spJte station. Mir crashes into hih head. At the South Park Morgue,. crcL-s-tershire sauce spills into [he embalming fluid, turning him mro a cannibal zombie. As rhe epidemic spreads, smooth-talking Chef leads grade-schoolers Stan, Kyle, and Cartman in a moist chainsaw assault against the hordes of undead- Nunicruus motifs recall Rffirru of the Living Defli/, such as doctors puzzling over patients whose temperature is room tempt rat Line, and the protagonish calling a 1-800 number on the side of the Worcestershire sauce bottle. Sotif/j Pjtfc's creative graphic presentation is at least as entertaining as the irreverent themes or attempted parody—there’s something deliciously incongruous about rhe very idea of casting л zombie invasion in С0П“ struction paper cutout animation.
Kenney is exquisitely cool and detached as the harbinger of the zombie plague. The undead arc spotty, maimed, and have exposed bones and brains, and by the end OJ the episode, both of Kenneys arms have dropped off. (This still doesn't prevent him from crunching into people's skulls with breakfast-cereal chomping sounds, though.,} Despite thu fourth -grade art class animation, rhe kids’ chain-saw rampage against rhe zombies is raw and brutal. Dismemberment is the only way to dean i mate the zombies, hiai by calling the Worcestershire sauce company^ Kyle learn* that all the zombies will revert to their normal human state when rhe original zombie is him^rll killed. Thus he promptly saws Kenney down the middle from head to toe, saving S-outh Park and freeing Kenney tn die a third time in an aborted rerurn-frum-rhe-grave shock ending. Choice,
The Plague of the Zombies
Din John Gilling. Fmd: Anthony Nelson-Keys. Screenplay* Peter Bryan. Qrat; Andre Morell, Diane Clare. Brook Williams, Jacqueline Pearce, John CamiT
114 Тйе о/ thr jfamMfS
AJcn r>3vir»nk Ышш Hammond* Йжу Вдоши Seven АняЛНллипгг (tnglandL
This well acted ind capably-produced movie from 1 Jammer Studios is more important in the tvoJutitsn ul the screen zombie than is generally recognized. In the nine teen ch century, eminent physician Sir Janies Forbes (M-cardlJ and his daughter travel to a small Cornish village in response ro a mysterious lencr from James’ former pupil Pctet (Williams). Soon the visitors fall afoul of Squire Clive Hamilton [Car-son), an a loot aristocrat who spent many years in Ham, and who is bringing lhr corpses bach from (he graves in tht village cemetery to work as. slaves in his tin mines. This te a robust and visually appealing movie from Gillirg, who also directed the much-admired The at the same rime., using rhe same sits.
A EHtnadrig Cornish Eumbie Evicts Jacqueline Pearce frum his nil mine m tht moody И Fin ish Pfa^ue of thr ZrutitftjYi
During j dream sequence in PM#*? of the Zombies (P661, лп antiquated corpse crawls (rum the grate, apparently tn direct traffic or threw а 1плц pass.
Screen zombies were in transition in rhe late 60s, arid Phrgwe is at the threshold—it relies on rhe old codes of zombie behavior, bill pioneers the appearance of rhe zombies to come. They are still the snb-servient, mostly passive, поп-слотbal 'drones of early zombie film, but unlike previous zombies, these л re decayed* blotchy cadavers» staggering aroond clumsily rather than walking in perfect, mechamcd rhythm. The film i* best known for a stunning dream sequence in which rhe dead all rise from the earth in a cemetery* Seventec nth-century corpses with thkes of grey *kin peeling off like scorched paint slowly claw
] Ид» Niue jfrvjTi Outer ipjoe
their way up from loose; damp clods of soil, wearing cowls and Ьюк ing a htrlr like an ;irmy of Friar Hick aombies. I hr motif of zombies clawing their way directly our of [he ground went on to become a staple of zombie mtyvies, largely on the strength of this dream scene (the dead never crawl our of the ground in ЯотргцЪ trilogy}.
The real zombies differ only from those m the dream, sequence in that they have no pupils, ind rhese white, frsturelrte rye? are decided f у unsettling. The undead in rhe tin mines wear drab brown cloaks, laboring in chia in 5 and suffering unJcr the whips of Hamilton's over' seers. They shrink from the whips, and try to hide themselves from the overseer* re .ivoid work, so they are dearly able to feel pain and are conceptualized as sentient in some sense. Ironically, the overseers скрепd mare effort whipping than the zombies do mi rung tin. They’d gm rich quicker just mi rung it themselves, There is a disarmingly funny scene, in fact, in which one zombie listlessly holds a spike while another taps it lethargically with 1 sledgehammer—at this rare, they're not going to mine rhe ore a whole lor faster rhan natural erosion V» CI Llld.
the zombies only exist so long as the voodoo effigies of them remain in coffins upstairs in Hamilton^ тати, When the enffinii are set on tire, the zombies down in the mines begin ro smoke and burn; they try to par out the Hames (and rhus exhibit т^г-пегк nFself-preservation J., albeit halfheartedly. The bleak mine setring provides ihe perfect environment for these memorable zombies, who reprint rhe screen’s first troop uf moldy zombies* even, if the mood is ulinnately defused by the safe and comfortable atmosphere of Hammer’s glossy, polished production values and conservative insistence un order and rationality.
Alternate titles: Тйа Znmbie, The Z.GJfibte£,
Plan Nine front Outer Space
Drn Edward Wood Jr. Frod: Edward Wood J.r, Sc.reenpiay. Edward Wood Jr.
Gregory Walcott, Mona McKinnon, Duke Moore, Tom Keene, Carl Anthony, Tor Johnson, Dudley Man love, Juanna Lee, Rd a Lugosi* Vampire CnswelL Reynold-; Pictures, 1958.
Ed Wood’s chintz rMsicrpiecej narrated as usual by bad-haired, droning, cue-card reading t riswelE, well deserves i is notoriety. Budget actors who refer tci themselves as “space soldiers” Lnd in iking
Pliijr Nrwr /row Chcfer S|wse 1 37
hubcaps and implement *plan nine"—rncunimg in army here cm Earth by resurrecting our own dead* I he three reanimated bodies they have sc far wander around a grave-yard in San Ferna ijjlo. where protagonists easily locate the spacecraft by following the trai I of bodies that were somehow meant to throw them off the track. Hot-headed pilot Jeff Trent (Walcott) and local cop Lt. Harper (Moore) arc welcomed aboard the suspect vessel by aliens Eros iManlovc) and ТлПЛЭ (Let), With thr help of i translating “dktarabotary/ Егги explains chat humankind must be stopped, since it has developed weapon technology far in advance of its own maturity- He insists we are on the verge of discovering the dreaded 41 Solana rite Bomb/ which threatens to destroy the entire universe Eros succinctly concludes, “All you of Earth are idiots." As immortalized in rhe film i~.d Wood with Johnny Depp, Wood talked a church group into funding rhe picture. The group required not only that Wood change rhe title from the original Grave jKo^bers from Outer Space, bur moreover that the whole crew and cast be baptized.
Thc aliens resurrect bodies, using “long-distance electrodes shot in the pineal and pituitary glands," which they fire from the electrode-pistols they carry in hip hohterS- Eros insists the dead are resurrected in body alone, and can’t think or feel. Two of the reanimated bodies—ugly Tor Johnson and a chiropractor pretending to be Lugosi by holding a cape over his face—arrack hi striking with two-handed karate chops. The third is Mortkia Addams-like Vampira, whose victims зге badly mutilated, as if attacked by a bobcat (though disappointingly, none of these assaults are ever shown on-screen I. On the w hole the reanimated bodies don't do much but lurk around the cemetery, but then, the true entertainment comes from watching rhe incredible background sets and trying to make sense out of the script. At one point Eros muses, elt's an interesting thing when you consider the earth people who can think arc so 1 Tightened by those who cannot—the dead. Actu ally it’s nor very interesting, hut it sounds profound if you don't chink about it too much—like most of the script, starting with CriswdPs opening statement: ^Greetings, my friend. We are all interested in the future, for that is where you and f arc going ro spend the rest of our lives.”
Queett uffbt Cawiibdk see Dn ВмГсФет, M.D.
QjteKd w/it леедяго al cimitrro see T/?e Howse by the Cemetery
Ufi Rjjidcn offbe b'viHjr Dgnd
Raiders of the Living Dead
Drr: Samuel Mr Sherman. Dan Q. Кспгйя. S? narrfibjvt Sim lie I M S'hcr-rliji, Breit Pipet Cdjri tobtrt Dwerit, Danna Asuii, Srctf Schwartz, M Alien, Ziu Johann, Bob Sacchefti, Leonard Corman. Independent Jwtiema-гюпа I r 19Й5-
Tame human1; dash mildly with tepid zombies in dm pointless PG undead! rubbish. InvcsEigiEjn newhpjpcr reporter Morgan Ran dall uDemiul teams up with generic love interest Shelly (Asalil to litllch er the corpse raiding activities of a defrocked prison warden. The non-adventure lends them to Кгккпюог Island, where я coorec-tional institute dosed down many years prior for experimental research on patients still houses the restless dead. The eval warden calls them to his service by ringing n bell1, hut plucky pre-pubescent [ojiAthan (Schwartz || comes to save the day with, л .homemade laser gim improvised from discarded VCR parrs. The sluggish story hne consists of continuous talking without much intonation or expression. Л еппрк of “Thrcr Stooges" clips incorporated into the movie are rhe lea яг exasperating parts.
The zombie^ яге mostly the former inmates of rhe prison, although what the warden plans to do with th rm is never really clarified. They do kill a mjnor character [the scriptwriters apparently going nut nn a fimb}, but don’t srem tn ear him. Making л mid-'80s zombie movie without violence or gore is rather infelicitous,, especially as 19Й5 is also the yr.'ir of three pivotal, high-impacr films; Duy of the Re-An/wj/or, and Rcfuru uf the hiving Pejd,
Raptors
Dir. Claudio L.a ttanzi. Scrwnpbjn Daniel Ross (ОлпIrk Strnppjj, S?nry; Chude Milliken (Ckudiu LaKantih Sheila Goldberg. Ctift Lars Wen del, Robert Vaughn, Tlmotfay Watt, bcrije CummitL^ James Villenmire, Sal Mag-giuneJr.James Sutterheld, Lin Gathnght. I iJmirage/Hora Film (Iralyh 1Ш.
Italian zombie movies are shot abroad as often as in Italy, and Uittanii adorns dm formuк stalker with rich Umisidna swampland scenery and abundant footage oh birds. A group of си I lege students from I nynhi head down to ihe h-iyoni to find traces of the ncarejrtincr ivory-bill&d woodpecker. ’I here they meet blind arnitholegist Frederick Bwwn (Vaughn), who, many years prior, killed off his family upon return mg from Vietnam and then had his eyes plucked out by
Кг-Ahi m j to г H9
birds. The students stop for the night in the abandoned house where the massacre occurred., only to be picked off themselves by freak accidents and isuhted zombie arracks. Brown explains that иЧ him they're really after. and after the departure of the twn remaining students, Steve (Watt) and Anne (Vtcndel), he at last succumbs to the vengeful fowl. The atmospheric film is heavy an images but light on explanations. Though very slow getting ift gear, 11 picks up decisively for the lavi halt-hour when the zombies begin a concreted attack, ^ince the zombies are .lew, <ittJy appear sporadically» and never appear for longer than я moment or two, the suspense is generated almost entirely from dark corners and narrow passageways rather than actual danger.
( main random shocks and haunted house happenings give the impression that immaterial ghosts or spirits of some sort are responsible tor the pervasive evil, bu i there's not hi ng ephemeral about the zombies oticc they begin to stir. There's not really more than a couple of them ithey are presumably Brown's old. victims» who numbered four), but these few arc more than up to the task of slaughtering the co-ed foddec Hiey are brackish, cloddy cadavers, with heads like big mliins-Though very slow (they only advance with one font, using the other just to catch up), they’re imoonununly strong—once they get a firm grip on a victim, no matter how many people pull from the other end, they don't let go until something comes off. We never see from where rhe mysterious swamp zombies emerge» learn next to nothing about their connection with the ominous, knowing birds. who observe rhe film’s events from a distance, and csnr follow their Independent motions or activities. Perhaps they have none; Brown says, '‘They feed on fear—it animates them, it gives them strength,” which would explain why rhe zombie invasion h.w such .1 slow and erratic Hi.irt, and only ns momentum as rhe group becomes increasingly terrified. Thus the film exhibits a certain leisurely patience that’s bought ar rhe price of only seeing about five minutes of zombies in a ninety-minute film- Bayou zombies enjoy a modest hut noteworthy heritage, including I«vMfr ofthe Zvmbtts | J ?4J) and Ш liryund (Ш1, another Italian film made in Louisiana, in which rhe stylish imagism and restrainrful zombie employ men r is an obvious inspiration for Rafrforsf.
Alternate titles:	Eyei of гАт Zombie^ KHbng Birds,
Re-Animator
Dir. Smart Gordon. Prod: Brian Yuzmi. ScreewpA^ Denms Paoli. William J. Ыогтй» Stu:»гr Gordon. Carts Jeffrey Comb-5,. Bruce Abboti, Barbara
1411 Kf-Ai тт dint	_______
Crampton, DjvU Gale, Kohert Sampson, Gerry Black, Peter Kent. Empire? Kt'Animaror Prcjductinns* 19Й5 .
Stuart Gwdoii resituates che zuEnbie menace in the sleek* sterile atmosphere of Miskiiconic Medical School in this fast-paced and intelligent splatter fiesra. Jeffrey Comba steals the show 35 genius Herbert West, a likably brash and indignant medical student who has discovered a compound to restore the dead in life. ReEuctantly* nice guy Dan Cain (Abbott) becomes increasingly entangled in West's clandestine experiment!!, while West contends against nemesis Dr. Hill (Gale) who threatens to steal his invention.. Very loosely based on a Lovecraft rfaty the movie remains visceral yet funny, enjoys tight direction and a suspciLscfuil score, and succeeds in creating a sense of seething depravity lightly concealed under rhe veneer of clinical pro-Itssionalism,
West’s green, glow-m-the-d.irk serum reanimates anv de;sd tissue* even disembodied parts (as in ihe same year’s Return of rhe Living Dfdd}. ‘Ihe reanimated organism or Tissue, however, flies into л spastica I ly violent frenzy; West himself even takes tiny doses of the serum once in a while as a stimulants The longer the corpse has been dciil, [he less memory or cause ions nest is restored, but power-hungry Hill gains control over a small platoon of the mindless, reanimated, cadaver* through a special surgical process. Hflli's evil head remains sentient even after being removed from hb body, leading to one of the most daring moments nf ’tffk horror; having captured Megan (Crampton! and strapped her down to a table* Hills pulpy, severed head (hr Id by the rest of his body) runs its bloody tongue over her Hdkbd body while she screams hysterically. Not for tht giddy. The final scene is a veritable bursting pinata of limbs and organs, which I indi Bsidley has aptty dubbed “Gordon's Guernica." The institutional set-nng of Rtf-Алвotafor, conceptually supported by a steady stream of medical [argon, gives these zombies я very different feel from [he rotting shambles dominating the zombie movie Landscape of the ’70s and early ’80s. Here there arc no religious overtones, no tombstone Or graveyard trimmings* no need to look for horror or monsrrosiry anywhert but in the scientifically analyzed human body itself, laid our under septic bright lights.
Яе-Лггггигггпг П see Htide tjf Re-An fwutur
J 4 Refre/iuft ih las nttierras su Vrirjctrfflce uf fbe Zumbifs Rebellion of the DcuJ Women see Vengeance uf ibe ZumbitfS
iRetam af the Eml Ofud 141
Redneck Zombies
Dir Pericles l-cwnrs. Fro J: Edward Bishop, Gtorgt Scolt, l’eridi-5 Lewnes. SerrtfnpJjy: Fester Smellmaa. Stary-, /.aafaci., P. Flnyd Piranha Croft I isa Del lavrn, William Benson, JlM I feuMly, Anthony Burlington-SlHith, Martin Wolfman, Buu Ttasedale^ Darla Deans- I nil Менш Pictures, 1987.
As expected from the Trema Team (who brought us Гйе Toxic AirMgrr and ТЪе Ctaji af Nuke ’Em HighY^ rhe standards чИ gore are high and those of taste are low in this backwoods shambles. When Pa, Junior, Jethro, and BiUy Bob find a lost barrel of experimental nuclear waste, they immediately convert it into a still. Needless to say, all those who imbibe rhe resulting sickly, greenish moonshine become crazed cannibal hooligans. Hapless Bnb (fiurlmgton-Smirh), one of the group of campers who serve as victims, regrets having dropped acid right before the zombie invasion began. Cartoon-style antics and hillbilly stereotypes blend to produce a down-home mess not even fit for slopping hogs. The country folk colorfully threaten to give each other “what fer" and deliver lines I’m still not quite sure what to do with- “You quit your sas$in\ hoy—1 pulled yououtrs your mother, and Г11 shove you right back in,*
The white-faced, dribble-mouthed zombies,. covered with generous portions of scum of all huts and consistencies, scamper araund the county in their overalls and John l^cere caps, feasting on the flesh of humans and farm animals alike. On the whole they don t stem to display much intelligence, but then again neither do any of the living characters. In a final bucoliphobic twist, it turns nut that the only thing that can kill them is deodorant.
l,a Regina dei cannibali sec Or. Butcher. M.D-
Rest iit Peace see Оле IXtrfe Night
Return of the Blind Dead see Refwnr of the Evil Dead
Return of the Evil Dead
(Orig. £J LTtaqkf de las tnirrrttir sin njos). Dir. ^mandc dr Ossorifl. Frm/i Rarnnn Plana. Scrempifiiy: Ama nd» dr Osorio- СмГ: Tony Ktndjll (Luciano Stell я I, Esther Ray (Esperanza Roy), Fernanda Sancho, Lx»nr Firming, Frank Blakr (Frank Brafil}, Loretta Tovar, Jose Canaleps- Anch Century FilnU (Spain), 1973.
De Ossorio follows his successful zombie debut (TcW?s о/ tfre Ш/wd 1971) not with a sequel but more of a retelling—the events
|42 Книги &f xbr Lrjjjfy	_
in. this vipahk1 feature are unrelated to Jnd even incornpaTihle with chose of rhe fint Tnutie. I к re h isn’t aw< dint pluck out the Templar monks' eyes in the Middle A|tt, but nngry villagers who burn thrrn <ж i shown as a tbhback), Now. rhe village holds а festival ^umemorating rhe SOOrh ainiivemry if she execution о» rhe Tem-у-1лгхь which rhe monks thcmtelvw *bo decide ro attend, VC lien the VT?n,ecfu1 Jcjd gallop into the main pitta and begin slaughtering men lvli' ikelft. pvtotechmcijn Jack Mii'luwr {Stella) and LiwniEig Vivian Ri-v) luck rhcmsrlm in ihi- car hedral wiih the corrupt mayor, rhe i dhge । Jjotn and uiher expendsbks. I hough RrJH^w lacks the charm ing simplicity ci I the first Blind bead him, it doc* sustain a gruJun. building of tension more кисеей fully than fhmta (which only pre scnFci! periodic attacks in isolation from each other}. In fact,. this second film it inure obviokiily patterned .liter Nigbl '/ the Living Dr<jd than after 7b*rta, However» Kefur/i is hampered by dated character-iiatrnn, thr male player» apparently competing among tbnMtNt* for the CHcarin had hair, wide lapdx J°d machismo alpha-male beha visit The blackened, skeletal «tumble» are largely unchanged from 7 mite why tamper with perfection?), but this time the characters manage to deanimaie some with fireworks and torches—in tacr, so П imenable ire these zombies.,ooe WOadert why The protagonists don! jusi burn them all ujid have done wuh if. St ill» however many ire destroyed, more quickly .appear, and there is a vague sense of unlun itedi mnabtf* Ы them lurking behind every corner In the end, nodi-ipg the characters do hinders rhrjr onslaught in the least; only the kfiht or the rising sun brings rhe apocalypse tn an t'ndt КсГим also сч^гпез with a bonus Kombic horse (somebody filially looks under cme oi the hoist’s hoods)., lie Os^yriо continues his Bhnil t>ad saga with Bomar of rhf Zombu's (W74).
Al^marc titles: Uftrcfc и/ fhv Ulirid D«aJ» Affadc о/ ibc J- vclcss IVaj, KrFMj-ra uf the liirnj Peitd, К1тт;ч£₽ о/ rbt I lflt f>txr</r
Кениги ot thr t it ing tAwd ".ее MriSrqi/j о/ ! vit
Refunt of the Living Dead
Dir. Dan О'Блпцоп. i*rod: Jum 1 ok, ^twia/iby: Dail O'Rannun. CosJ: Ctu Guhgci, James Karen, I hum Mathews, Dun Cnlfa, Beverly Randolph, Miguel Nuhciti Bnam Ptck, I innea QiiigtEyL НггпгЫ1еЛ'ок/1)г1пл+ 1985,
Thu hi^hlj popular and influential sequel to and reworking of
R t'tNTTi of ihe iDrjd 143
by O’Binnon i.wntcr tit А/гёп) successful I; conibiues light hearted fun with fast at dun and some of the onierkai zombie to hit г hr screen h Medical supplier Frank (Karen) explains to new employee Freddy (Mathews) that the basic story behind Nigbf of tZ?e l.wt£ Dead was true, and that army cannisrers containing the infect lews zombies were mistakenly delivered to their warehouse. The two Einsteins accidentally release the 245-Trioian gas from the cannistcrs into the nearby cemetery, promptly causing ihe dead to sprout tmm the ground and rampage indiscriminately. Joined by warehouse owner Run .Gulager), mortician Frnie (Calk),. and Freddy’s motley assortment of punk friends5 they barricade themselves in the Rcsurrrdkm Funeral Home apain^tThr swelling numbers of the hungry dead. When at last the unlit an learns of die catastrophe, it respond* by nuking rhe entire city ( Louisville, Kentucky). Clenn cinemarftgraphv and edir-tngt spirited writing» a В vclj1 metal score, and charismatic acting (especially from Feme and Bun) give this pop-cult cash-m intrinsic merit. It brims with in-jokes to Nrgfer and never rakes. itself rno scruiusly, Ztmrr^ was originally meant io represent John Russo’s sequel to bur the finished product supposedly bears little resemblance to hi$ initial conception.
The sleek, shambling zombies of Rcfwew are nothing like Romeros. For one thing, these ghouls aren’t slow, but run fast as their mucky kgs can earn them. At one роз nr the prat a gonitis sub-due and inEerrogate the top half of a specimen, an ancient (almost mummihed) zombie whose brackish, protruding vpine wags thoughtlessly like a tail as she answers their quest ions. She says she trove* brains because earing them Stops “rhe pain the pam of being dead/ The eating of brains specifically is a new twist on the Recreating rheme (Romero's zombies prefer entraibh one that wa* to stick in the minds of the public and become u permanent feature of zombie lore. Zombie Freddy, stalking his girlfriend* even -ays ht can smell her brains.
Although fully antedate* the zombies rarely aspire ш utterance* beyond “Brains/ Atone point» however, having already devoured one learhrr-dad punk, ihe zombie 15 hu originally emerged irum the army cannUter turns to the other punk* menacingly and el 1 homes, dore brains/
RamcTOs principle that zombies can he killed by destroying tht brain is аЫ forsaken (“You mean the muvic Lied?!" gwp& Freddy). As Run Icatns, “You can chop them up into pieces and the pieces still
144 Ri/wrfl of the Dead П
cu-inc atier you." Moreover, these zombies are intelligent arid capable of using tools—one rigs up a pulley and chain t*। pry open л locker door, and another uses & C-H to call tor more patAmeiliLS after han mg eaten those already dis parched. Ad mitred I ys though, they dortl't really mnkr use of this intelligence, And mainly just hover about in crazed packs. Nonetheless—spoof elements not withstand] ng—from their speed, dexterity, and immunity to virtually all forme of attack, these are uncommonly dire undead,
Return of the Living Dead Part 11
jDfr: Ken Wiederhnrn. .prnJt Tom Fok. 5сггся/>Лау1 Ken 4triederhnrn. Ctwt-Michjcl Kenworthy, Marahl Pietldn, Daos Ahhbronk, Philip Brun*, Jamri K?rcii, I hum hlaihrwb, Suunnc Snyder. Lorumai, 1987,
The middle episode of ihe glossy, tongue-in-cheek Return trilogy, Though tightly-wrought and well-acred, fails to recapture the fun, Ifre-ncTic energy nf (J’BiniiDn’s original. Bured kids break into a lost cun-filter left over from the first invasion, releasing a sickly green cloud that ьоакз into the ground of a nearby cemetery. The protagonists Tier from the resulting undead onslaught through an unfinished housing drvckipTTh’nr to a deserted hospital ind at last to a power pit nt, where re.yoiti rceful cibleguv Tom (Ashhroiikj con trivet to decrriKure rhem en masse The horror comedy keeps з fast pace butofters nothing that the first movie did nt already do better. № iederhorn also directed the much superior Shock Waves 1977).
As tn rhe first Яг/игл, the zombies are fully rational and articulate. They crave brains {and monosyllabically make mention of the fact frequently Hof any creature, human or mm-human. In a classic scene, they plunder a pct store, emerging with cure pc>odlle& and budgies dangling from their mouths. They keep all knowledge Егогп their former lines; thus they use tools, and even drive a car for a short distance. They shutt'e along unevenly л nd never quite break into .1 run,, but otherwise most of their motor functions seem to opciate at rhe usual speed.
When a gravedigger and his assistant breathe the noxious green gas and slowly die, Mathews comments on this aJ3 being a hit familiar {he and Karen went through this before in the first	As
zombie, he corners his girlfriend in a church., telling her he craves h brains beenuse they’re “rich л nd spicy.4
о/ ffee LDftid Pnrt Hl 145
Return of the Living Dead Part 111
Dm. Brian Yllziij. PfwJl Gary Schrrtot llrt^ Brian Yuziia. StfecRpDyi Jijhri Ptrmey. Ош; J. jrevor tdlliond» Mindy Clarke, krnr McCordJ Вам I Wah lace» Snrah Douglas, Pia Reyes Trimark Pictures, 1943„
A departure from rhe zombk'invasion mania of the first two, the third ketum is rather a sappy talc of ill-fated teen love. The military continues its experiments with 245-Trinjfirt, attempting to harness the undead as a new branch of bio-warfare. Angry young Cun {Edmond), rhe son of rhe officer in charge of rhe experiments (McCord), surreptitiously uses his father's lab to revive his punk girlfriend Julie (Clarke) after she dies in a motorcycle accident. As Julie gradually deteriorates into a brain eating zombie, the pair fkc through the sewers tn avoid a group of hosiile street thugs as well as the military containment unit. The film focuses nn mutations and conglomerate mosaics of misshapen body parts (as in Clive barker’s Njgfrfbreed), and there is i teeth-grsi ting scene in which Julie piercer her bod^ all over in ccnobite-like fashion, rapping into the punk gone-mainsrreain body piercing craze of the early '90s- I he helplessness and desperation uf the two earlier movies, as well as their creativity on finding variations on the zombie phenomenon, are entirely missing. I terc there's never a sense rhit things are our of con-trol; the half dozen nr so zombies remain contained and away from the general populate the entire time. Though the “star-crossed lovers” rheme is sometimes successfully updated and parodied in zombie romances (1 UGis a Terruigc Zowfiire, My Koy/ricwiTi Btrcit, Aly Zowi-Ье Лоиег), here it flounders from being played far too wrinusly..
We learn that the reason zombies specifically crave brains is that rhey feed on electricity from the neurons, but this is rhe only addi' tion tn the received lore* Julie, who remains in a transitional state between living and undead throughout, doesn't adhere to expected zombie characteristics leading to uri satisfying inconsistencies. The very fact that she doesn’t arise immediately as a crazed zombie upon being infected with the Trioxin directly contradicts the nature of the infection in ah three movies. Furthermore, she refuses to ear Curfs brain, which, the movie explains, is due to the strength of their emotional attachment, So arc we supposed to imagine that rhe zombies who rum on their lovers and family members in the first two movies never had any emotional atiachmenti to them* |ulie hcxoint^ increasingly self-destructive, because, she explains, "The pain helps. The
146 rtehrm the
pain makes the hunger go away. She 5 never happy, torn between conflicting human and zombie desires, and so rhe featured zombie spends most of the film whining..
Return of the Zombies
(Ong, J-d flFjfiJ de lot uauerTo*). Dir: Jo*e I UA Merino* Fmd? Ramon Plana. itrecirpLiys Jusf Lui* Merino, H*inui Columba. Gm J. Stnnlry ( 01 >pc.r Stelvio Rosi}, Diamk Zurakuwskiu Paul Nasdhy (Jacinto Molina}, Gerard Fkhy, kLiria Pi a Сопгё, Charles Qtiincey Fttfuka/TVudiniex (Spain,, LtabJ, I4’-2,
Scenic n in tee nth-century Skopje tor ms rhe eerie and btJULic u] background for this grab bag of twisted motifs, suspect ideology, and gruesome zombies. Fearless but sleasy Serge Checkov (Cooper) visits ,1 rustic nsountain community to inherit hig uncle’s estate, hue bccojncs drawn increasingly into the web of bizarre happenings and unexplained murders plaguing rhe village. It seems 1 earn (Tichyl, the mad scientist in rhe basement, is animating the dead for no particular reason, and sending them to strangle anyone who threatens to uncover his illicit experiments, Though we’re apparently meant to sympathize with Aryan protagonist Serge, he blackmails a frightened, crying woman into stripping before him, after he’s beaten and fired the burk-г to nd the house of competition* Meanwhile, vi Lage idiot IgonNaschyJ keeps a harem of dead, decaying women (and nor rt-an-imated ones, either) for his personal enjoyment. Requires a particular niondt to ssy the leasr.
Lcon raises corpses by exciting their nervous, systems with electric charecs. He then controls them by means erf a capsule he has implanted in their brains to receive his thought pattern^ or some th mg like that. Thus they do his bidding up until the climax, when they inexplicably turn on ham. terrain motor functions елл be reanimated, but nut the vocal ar visual senses. I hus the revived corpses are blind-hut like de Ossorio’s blind zombies, thry normally find their way around without bumping into things or tripping, There dre only three nr four zombies, and thej nnlj appear it rhe very end, bur they’re convincing and succlss fully uhorcogrciphid.
Alternate titles; Beyond the I ruing Rrjcnfe—Tfer Terror of ffee I rt'b/g jDeud1, The Hanging Wo^wre, House of Terror, Ld orgw Jrj JTiOrif.
Reuewge of the Dead see ZeJer
uf rhe Ltul DeuJ see Retwrw о/ the Eud Dead
JlfWMji’r of ibt Zombie 147
Rctvwgc' uf tjft' Living IVjJ1 see Cfrildneit SbouMn/ Pfisy tvitb Dead Things
Revenge of th? i it'ing Zombies see FVeffeeiirer
Retwijje ojf the Screaming Dead see Mcjshjjb of Eldf
Revenge of the Zombie
fJrrt Patrick Rrgan. Prodi Alain Silver. S? пен play: Alain Sil vet, Patrick M - TV Stewart. Ca$Jt Fabian Forte, Marilyn Rums, Nell Regan, Patrick Regan 111, Jon С«1ац Marvin Millet; Will Rand. Film Ventures Intenuticwd, 198 L.
Tame and slow paced, this hudgetless vanity showcase for rhe dirctlof re east his gawky twins as Wi is strictly a Family affair In an off-season California, coastal resort* Guy Nicholas I Randi keeps his sickening twins Michael and Beth (Regan and Regan! isolated from rhe world, for fear that their prodigious powers will become known ro authorities. At a loss what to do when their father is killed by passing biker thugs, the children decide they must keep the murder a secret by telekinetically moving Nicholas’ body .iround in some poorly-thought-out scheme to avoid suspicion. They try to continue life a* normal with their new pupper father, occasionally sending him off to kill bullies, bill collectors, cr anyone who displeases them. At last losing heart, Buffy and Jody say goodbye to their perambularory рд, and have him dig his own grave. The amateur effort encumbers its interesting premise with a meandering story line* lengthy pauses, ^nd unconvincing child actors. Sadly enough* ’60s heartrhrnb Fabian and Texas Chainsaw Massacre heroine Bums appear as a deputy and a social worker. The president of “Film Ventures Internationa Г disappeared after з lawsuit, and the movie only gradually made its way our on rhe video market.
Zombie Nicholas has bluish hands, weirs a suit* and has • couple of occult symbols th.it the children paint on his face. Though he looks and acts like a conventional screen zombie, its difficult to eval uite his mental status. On rhe one hand, his body is animated only by the childrens telepathy* so there’s но reason to think he’s sentient. On rhe other hand, it would seem that what they activate m him b an independent animating principle uf some sort» because he drives a car (which they don1t know how to do}, and he can act and deliberate even when out of their sight. It 's never explained huw he locates
НЯ fifjfngr п/ the Zombttt
his victims From а1яг> furrhttjnore, hinting at grraLtr supernatural forces-; J nd in phi? wildly implausible scene, lie exhibits the bizarre power of (ravelling completely underneath a beach through rhe sand to spring up »n his fieri ms like a shark, Whatever
Ake mate utles: Kiss Daddy Goodbye, Wtigefai Dead.
Revenge of the Zombies
Dir; Steve Sekely. Fred; Lindsiey Parsons.	LdmonJ Kelso, Van
NhnftTOss. GiiT: John Carridine., Gnlc Sfrjrrnb Hr«hert I nwery, H^b Steele, Млт in Moreland, Veda Ann borg, Barry McCollum, Mauri a. Hugo, Sybil Lcwik, Madame: SuL-Te ’Алл, James Bjbkctt. Mtinograni, 1943.
Monogram virtually remakes its earlier hit Rmg о/ the Zombies with a wartime story of an insidious Nasi plot percolating in rhe Louisiana bayuii, Larry Adams (I.□ tvcry 1 and Scott Wa г rz ngtr jei (Hugo), along with their knock-kneed servant Jeff LMorehridl, call in on secretive Dr. von A kerma nn (Carradine) to investigate the mysterious death of hb wife Lila (Borg). Kitchen hand Kmal.it (Lewis] warns Jeff of “things walking ain’t gnt no business walking,’* while Adams and Warrington discover that A hernia пи is raising an invincible zombie army for Germany. Despite я dramatic score find charismatic Moreland's sincere efiorrs, the scenic situanyrts and conflicre are smelt; fare from rhe Monogram horror-mi IL Revenge of the Zt?ra-tres is die first mu vie m presume rhe audience knows what a “zombie' is and not provide an explanation.
The undead pheuoin^ndn, unlike that of most early zombie movies, is the ггьик of science rather chan voodoo. AIrcrmann explains that tissues sand cells can be sustained indefinitdy by a process of refrigeration, while those areas of die brain controlling volition and independent judgment can be suspended. Thus he intends to raise an undead array that will need no food, and will continue (0 fight despite fire, gas, and severe bodily damage, ?□ long as the brain remains intact. {hi bet, this is the first embryonic mention in a zombie movie that the creature can only be deani mated by des troy in . rhe brain,) Though Altcrmann envisions 4 many thousands’ of nnJcad soldiers, so far his army barely numbers a dozen or ^n, The sullen zombies in his humble rroop arc all cither emaciated or overweight: in short, an overall unlikely nwb co carry the Third Reich to its de^ tiny. Occasionally, an eerie, high-pitched rone is heard from their m^dst, a son of zombie tall.
R	of ifte /nmbi es 149
The h< id zombie I azarus <Basket?) is rhe zombie equivalent of i house stave: he carries our household tasks such as serving at the dinner table, while rhe others toil at manual labor outside. Tire only other character zombie, AI ter mania’s wife LiLat differs from all rhe other zombies in exerting J will oi her own. She wanders ofi into the swamp, answering Flatly when questioned, bin otherwise biding her time before siimnumiiig her fellow zombies against het evil husband.. Once hr4 dead, the zombies turn around and begin to disperse, but thej show no signs of snapping nut <if their zutnbie condition. Maybe they’re still wandering around the swamps today, calling out their creepy song in the- sultry bayou nights, waiting for tighter supporting cast closure.
Alternate title: I be Cutp.tr
Rewwge о/ /be Zombies
Dir: Ho Mcng-Ilua, Prud: Run Run Shaw. Sewiqpiili: 1 Kuang. СдгГ; Tt Lung Tinny, Lu Lieh, Liu lluijn. 1 Lily Li, Lin WcrTu. Wtifld Northul (Hong Kong), 1Ш
The Shaw brothers combine black magic, martial arts, and gore in th is intense horror-cult favorite. Medical ductor Chen Sing believe? black magic is rrspoflsihlc for the strange flesh'eating diseases he sees at the hospital, but his friend Chung Ping is skeptical Behind it all is sorcerer Kai Clung, who stays immortal by drinking human milk, and who enslaves Chung Ping’s friends and even his wife. The nerdy protagonist turns out to be e karate shark, and single-handedly takes on rhe evil wizard and his motley zombie mimgns. Budget effects- and lackluster martial arts sequences are more than compensated by sustained energy and brazen creativity, Solid conceptual suppori and periodic surprises keep things festive: an old wizard flogs a zombie woman with л dead weasel, fur instance, and them plucks out his own eyes and instructs Chung Ping ro cat them tor greater powers.
Evil Kai Chang procures corpses recalls the departed souls with incan rations, and then controls the resulting zombie.. He keeps them dormant on slabs in his cellar when nut in usc^ and then reanimates them by driving huge nails into their head*; with a mallet.. The zonb hies arc fairly scutate when first revived, moaning and milling about, but can eventually become quite excited—run in ng, jumping, howling, and zipping a round. Kai Chting also keeps some mangy-1 voicing zombie drones in hooded cloaks around the house as guards. Chung Ping
IW Kruo/f of the Zombies	____________
dcwmmaces ihe lot ici the closing sequence by burning all the wrax J<dk thar contain their mtr ippt’d souls, Bt-iween rhe r,iilr*i,id spikes in iheir heads and ihe bouncy somersaults in the hghi sequence?, these are nor your average undead sriMs.
Alternate title: Biaek. JJ.
Rei'o/f of the Dead Ones see Мея^едясё nf the Zombies
Revolt of the Demons sec Retчи?r of ihe Zombies
Revolt of the Zombies
Dir-- \ ictor Halperin.. JVrwf: I dward Halprrm..Scrtrnp/av: Howard Hk^ifts, Fifillft Lloyd, Victor H^lpenn. Cffit: Dortxhj Stone, Dean Jagger, Roy D'Arey, Robert NolandT George Clevelinds Tern Shimada. Halperin T'rndncrinnб/ Academy, 193c,
Lugosi was originally supposed ro star in this uninvcjlving Halperin follow-up to Whif? Zombie^ but I doubt even he could have saved iL The movie begins in the tbitk of ^t-orld War 1, when a regiment of zombi fil’d Camhodi-ins proves imperishable in harries an expedition it subsequently organized and sent to the Lost city of Angkor то un earth rht; ^secret of rhe zombies." General Duval’s daughter Claire (Stone) breaks off her engagement with Armand (J.ig-gcri to be with her new love Cliff (Nolandh tn his grief, Armand crack'4 the riddle of the zombies, brings everyone under his power, and amasses jn army of subservient Cambodian troops. All he really warns, rhough, is to win Claired love, which he finds ail the power in rhe world incapable of doing (rhe theme of W&te Zombie alsoL He relinquishes hrs power ro prove his (eve for her, allowing his slave army to rend him to bits. The film is briefly iiicecesting when Armand starts to raise his zombie armies, bur they never actually do anything. Revoit. is only noteworthy in being unusually grandiose far its time— rhe swiftness with which Armand gains control over the minds of an entire nqtion anticipates the apocalyptic proportions of Inter jombic movies.
Though called “zombies"" and “human robot*,* the subjects aren’t really revived согрмк Armand turns, people into his slave? while they're still alive, and when he relinquishes his power, they dimply
O^tfire; The Halperin brothers (creaturt erf Wforfr ZnjH&ie) take the zein-hit io Cjttibudja in their dull SullaW’Up, Kftrolr uf the Zombies <195h),
15 2 SjjiJti arid Bkr	/Ле HiwCfrc
return to their normal waking state. First he turns his servant Bunn (Shunada) into a Kcmbit by burning a special powder and fanning rhe ili incs toward him, but after that he appears tn recruit new subjects with no more than a thoughl His “followers," as he edls them, are mostly armies of Southeast Asians with uniforms, rifles, nnd blank expressions „standing at a [Etntion or performing drills. Ocher than the brief scene at the beginning in the trench« of World War J, when rhe zombie Cambodians advance on an enemy line ‘with guns and ba у и nets, the nlm shows no awareness of what made rhe zombies of White Znttibie effective—here they aren’t scruffy, dark, inscrutable, or unholy, bur clean, sietik, and controlled.
A he mate titles Revo/f о/ rijc Demtwis.
RoWtJ Ссзиглт RfjHid see VFjj trf the ZuwijLt'cS
5jwgii/e/jj see Zuntfrie
Strato and Blue Denton
Against the Monsters
fOrig. у Bk<? Едоод tfnpiirff i,n fit-1rrsTrjiff?j|i. Flj'r Gilhcrlo Martinez ЧиЦгсч, Sirwni^Aiy: Rafael Garcia Travtri, Jesus Soiomayct Martinez, C-jSf; Santo, Blue Demon (Alejandro Cru2|, ]orge Elado, Carlos Arc its, I kdy Blue. ChurubuscoАхмсэ (Mexico^ W&9.
Mad scientists in Mexican wrestling movies will raise The dead as soon as grab rhe morning. paper; Here dastardly Bruno Halder (Ancir.il resurrects a small platoon of defunct criminals simply ro run errands for him. 1 hey hover lamely in the background, while a host of even cheerier fiends» arc summoned to combat rhe masked heroes: a vampire, mummy, wolfman» Frankenstein moiisrer^nnd я Cyclops-gargoyle thing whose rubber face doesn't move but whose eye lights up. Santo and Blue Demon fight the lot of rhem for 70 endless min-utes. Th is unfortunate iiKtaliment in our heroes' illustrious careers is sophomoric and directionless, with nor much explanation and a whole [fit nf w rest ling.
Halder and his eci1 dwarf sidekick procure the revived corpses from a cemetery under very hazily defined cite urn stances. The thuggish, bhie-contpkxioncd zombies all wear black Tshirts and pants, and aren't good for much besides holding a flashlight and moving bodies around the kb. They Iimc interest in their brief scuffle with Santo and B.D. Idieir only shot at center stage! when one af them, gets
XuhIo isk tlLiffr Mjgjc 153 decapitated; rhe others don't particularly seem afraid, hut they du gather around and gawk at the severed head in dim-witted fascination, while ihr wrestler* run right hv them. Oh wdl—maybe Halder should just hire .some real thugs.
Sawto undf Blur Demo» in the Land of rhe DrtiJ see The Luiiii of rbr Dead
5a»to etui Mi fa mail'd лвдга see Santo w, Blaeh Magic
Е/ Santo eojifM foj j&Hihies see JfuiM^iou a/ the Ztutibtes
El Santo en ri iwwMdo de /os muertos sec The Lund of the Dead
Santo vs. Black Magic
(Origr JtaR> cuniTd й ЯЯМЙ «eflFfi). Dik Albedo B. Crevenna. Prtxf. Lie. Borge ОцеЙ Besne, Joseph W> Saliba. &rewpi«i;y; Fernando Oses. Cerjt; El $MHD, Liss Ca rdrnas, Sasha fr [on negro., Gerty Jonct, Cesar del Cii mpo, Fernando О<н, Guillermo Gilvez. Pclk-ulas Ljrtiaoameciceaae/Gnemirognifica Hama (Mexico), 1972.
Mexican masked wrestler movies are often quirky and entertaining but even Santo looks confused in the cornucopic tedium of this senseless Caribbean romp. A sciermsr | Galvez i has discovered a powerful tactical explosive, which Santo wishes to keep out of rhe wtong hands. Evil voodoo priestess Yanira (Montenegro) assaults him unsuccessfully with snakes, voodoo dolls, and zombies, hut never thinks of |USi shooting him. After much talking and even more Jr urn-mi ng and dnne-ing, Santo conquers the witch woman with the help of a good voodoo priestess {Jonesh Shut in Hani, the picture should provide the perfect setting for an authentic zombie adventure, but instead dissipates its energy (and the viewer's) on lengthy dance rituals at every rum. I he letters "HN" have never looked so beautiful. Not to be confuted with rhe delightful Dr Sdidft rs, Black AAagu (Mexico, 1.96? ,
W hen Santo first arrives in J lain, he’s beset by a half dozen or so unimpressive zombies. The pathetic African-Caribbean* look like half-wits and fight w ith all the unbridled furyol Dronpy on sedatives. Two of them just stand at the sidelines throughout the fight, looking interested bur obviously undear on the fact that they should be participating. They all flee when Santo threatens them with a tire iruit, which is kind of cross-shapedFred Sanford could probably take on

1г4
this sorry troop, and priestess Yamra really should look into a firearm of some sort to carry our her evil schemes,
Sjntfl rs. the Zambia tee /Hwsrntf of the Zowtoe*
Su/ti ?з's Satellites see Zombies of the Stratosphere
Scared Stiff
Dir; George Mniihjlk ProJj HjI В Wallis. Screenplay. Herbert Baker, Walter DeLeun. Cd<fi Dean Manin, Jerry Lewis, Lizabtih Scott, Carmen Miranda, GeorRe Dalrnz, Dnmrhy Malone, Wdliarn (hi rift, Paul Marion, Jack Lambert Wallis -I lareп/Г^гйгшлпН, 1953.
Marshall’s remake of his 1940 hit The Ghost breakers is art annoying Dean Mamin and Jerry Lewis stint, which mostly sucks io rhe original except for rhe addition of several bad 5-ong and dance numbers and even worse comedy routines- Martin plays к straight as larry, while Lewis is hit buffoonish sidekick Myron M. Meir? (the “M” is ilso fur My run, lij. haj.„ Having an al] white cast sidesteps rhe racist dimension of rhe earlier feature, only ro replace it with spicy Sa uth-oF-the-Border songs about enchiladas. Jerry Lewis impersonates a zombie,
jack Lambert is much lest stnkmg. ал в zombie than NbhEc Johnson was hi the original—he has bad hair, makes, an unexplained clicking sound when he walk*, and generally looks more confused and groggy than unearthly and menacing. He totes a nastier mace than JahnttHi did+ hut is otherwise as scary as Jerry I ewis is hinny.
The School That Ate My Я/л i*t see Zombie High
Scooby-Doo он Zombie Island
Dir; Jim Stetiiirum. Prod: Coi AnzilufEi. Sidry: Glenn Leopold^ DtVll Doi. Scnenpldy. Glenn Leopold. V™c«i Scot! Innes, Billy West+ Mary Kay Herdman. Frank Welker, B.J, Ward, Adrienne Barbeau, lira Charendofi, Mark Ня mill. Hanns-Rar Licra/Warner Br«is., 1998.
I hi try years after rhe original show* Hanna-BйтЬега launches ihe video release of Scooby-Doo episodes with a feature-length movie in which the ghosts are finally real. Leggy Daphne, now a talk show host, rounds up rhe old crew to explore h^writings in the Louisiana bayou. On creepy Moonscar Island^ the gang finds itself eaughr heiwt-еп zombie pirates and Confederate soldiers on the one hand, and 2ПП-уедг-old demonic ear-vampires un rhe other. Shag and Scoab do their
Tbt Serpttil and fht Rainbow 155
pare rue d shtick, but Fans will appreciatesome ias<hf£ into the gangs udhour activities as well as increased attention to ths sexual tension between Daphne and Fred- The best scene is I red trying to pull the * mas к4 off a zombie he believes is only л crirninul im disguise., and wrenching о if the whole head by mistake. Fred's voice is the original cine from rhe series (Frank Welker),.
The lombies are the generations of victims the cat-vampires have ki led, from rebel soldiers with Confederate uniforms to modern tourists with Hawaiian shirts and cameras. They’re mily trying to warn our heroes, nor attack them, but understandably they have a hard time (setting the point afruse since -di they can do is lumber for xvard menacingly и i th arms out stretched while groaning «nly. Wtcli shredded clothсчг rusty ubers, and blank eyes, the ^limy swamp zombies aren't h.aIf bad. I he tortured spirits are at last released once the evil cat'vampints art destroyed.	”
I'be Setmtd Coming we Ме-ии'^ of Ей/
The Secret nf Dr. Oriuff sec Dn Orbiff’s M&ttsier
ГI Secreio did Dr. Orloff ver Dr Orioffb Monster
1 be Serpent and the Rainbow
Dir: Wre Craven. Prnd: David Ladd, Dong Claybrame. ScrwHp/jy: Richard Ma swell, A R. Sirnoun. Girt Bill Pul [nun, Cathy Tyson* Zake& Mokae, Full Winfield, Brtll'C Jcnriings. Cun rad KoberW, Kimbctlci^h Burroughs. Universal, 1987.
T he sensationalized screen version of Wade Davis’ relatively voter and m Forma rive hunk though nvcr-drsimatic in many ways, still presents the zombie phenomenon from a refreshingly serious and wir entire point of view. Anthropologist .Dennis Alan (Pullman) is hired by a pharmaceutical company to track down ft simple of the drug used for zombification in Haiti. For its possible use Ш anesthetics In Ham. Alan is Aided bv locals- j gain st corrupt politician and voodoo priest Peitraud (Mokac), while the Duvalier regime crumbles in the background. Alan learns the secret of rhe zombie powder, fabricated from puffer fish, мл toad, stinging sea worm, and a human corpse (Davis argues in scholarly writings th it ter r odor ox in,, or pu fiber fish poison, й the key inRrcJicni m zombie powder). Although colorful, the movie becomes too busy And scattered, with flashy shock-effect horror scenes increasingly supplanting the potential for psychological
Lidl Pull пи и <ПцЬч' If its Ю pltKAie uiuk jd CufifjJ ItubLfls (kill in J he Ser-and iht Rainbow iJ387J, oae of the few nwv 11» to tabe its vumhir con-cepwalizarian frnm folk fort Arid am Ьпфо1одо rather than frotn Hnllywftml тп-rmstcr emit nniiirt^..
anthropology. Thedrtans and dnig-iratue sequences arc all more rem-misceni nF Niff&miire он E/jt; 4 'raven’s runaway success from two years earlier, than ul Davis’ Ыз-uL After fifty-five years of Arritr-iCnifi zombie movies, this was the first to he shtit in Haiti—although
VJAiqki I э 7
the crew reportedly had tq flee when 20lX) Extras revolted, after learning (hat rhe crew could afford ta pay them, more than two dollars each, (nr three hours' work.
Hie drug Alan discovers induces a temporary deathlike abatc-menr of physical process: fora twelve-hour period, rhe brealhing and heart rate tome rn a complete ясор^ hut the areas of the brain regulating sensory awareness» thong hrs, and emn nons are stilt fully aciivi. Thus the subjects are tully aware throughout their own funerals and burials. Alan encounters a zombie named Margnre ^Burroughs) who stares л Г the wall, and when asked about hcr ordeal,, answers only with a desperate, tortured look- Another zombie, Christophe (Roberts)» is slightly more eloquent» though he*$ also broken in spirit and haunts Ioc^il gjaveyazds in Ills off hours. What the film captures best» perhaps, is the profound sense of despair and terror лг the heart o-f the parti*lly-icnfient zombies, which is closer to Davis1 presentation ot actual zombies than other screen interprets (ions. This ii about the only zombie ruovie to display more than я surface awareness of vodnn religion, and tt "s gratifying to find a film taking ith zombie conceptualiza(ion from an(hгорпIogy and folklore rather than from ыснк Hollywood monster convention^
The Seven Brothers Meet Dfittufj see T/?e Legend uf the Seven Go/derr VflFwpfrffS
Daurs of Death see 77jf BeyamJ
Sciy Nights of the Dead see Ero/fd WfgA/i of tiff1 Living Dead
Shanks
Dir. Willi am t лик Prijd: Steven Norrlti ficre-rffpLryi Ranald Graham. 1 Marcel Модемы!» Tsilla Cbetam* Philippe C’Jiiy, Cindy F.ilbachcr, Helena К al liaikiores, Don C*U*. Bill Manatd, Mnndo» Read Murzin. Par Amount, 14’4.
Modeled after silent film cnnvcnti<jnsT this dreamlike fairy talc ii an cxcrcibe in visual and gesrural black com-edy. The fascinafing experiment starring famed French mime Marceau was WiLlium ( яьtic’s last film. Мите» childlike puppeteer Malcolm Shanks I Магеейи) i$ hired by aged local scientist Mk Walker (also Marceau) to help him with hi 5 cKperiments in reanimating dead am mills, й hen old rt’i-in Walker, Mnkolnii drunken brother (Clay), and hist abusive sister^iu-law (Chel-ЮП) all turn up dead, Malcolm makes human mammenres out iff them
158 Softer DewJ________	_________ __________ ___________
u&ing electrode implants and oprrflres them with small remote l«b-Tr<j3 boxes. He enacts an ongoing, decidedly macabre puppet show m which die cadavers dance, serve him supper, and generally provide entertainnient for him and his underage love inreresr Celia (Marcia Brady look-dike Hilhachcr), Their Nabokovtan bliss is disturbed when a biker gang crashes the estate, raping; and killing Celia. Lonely and jaded, Malcolm implants rhe electrode attachments into Celia \ corpse, and begins to darte with her reanimated body in a $cene left open-ended and loaded with perverse implications. 1iurrorscenes are dashingly ncconipartied by carnival music, while gruesome shocks intrude suddenly into comical routines, i'hough slow paced, die film, is continually c ha lien pi ng and well rewards the demands к places on the audience. Г11с playful exterior belies some morbid undercurrents, arid a dark vision emerges of how perverse innocence, Ictr to its own. devices, really is- The score was nominated for in Oscar, and a man is pecked to death by a zombie chicken.
The three Corpses raised in the film arr seif! and jerky, like dock-Work ddls. Vi hen Malcolm directs them to kill, they strangle and drown iheir victims with formidable strength. In general, however, the zombie-dolls are comical in their stilted perfiorflunces and Chap-lin routines—and even more so when the bikers get 3 hold ol the controls and make them contort into utmaniraJ positions. 1 he reanimated corpses are generally doci1cT civilized, and show more basic humanity than most of the living characters.
Alternate title: S^ocfe
Shatter Dead
D?r; Scooter Met rae, Prod; Scooter Met rat, Scre^npijyi Scooter McCrae. Caff: Stark Raven, И1пгя Изитэ+ Daniel u,smn Ils" Johnson,. Robert Wells. Seeing Fyt Dog Prudoctkins,
\n miel ligenr attempt to go one step beyond the normal zombie invasion paradigm, Shatter Dead is packed with thoughtful variations on rhe usual motifs, though ultimately burdened by amateur production values. The walking dead now outnumber the living and society is on the brink of collapse hut г hr dead don’t actively perpetrate violence against the living.—they аге simply dtsEnfriurchiited and down-trodden i there's even talk of unionization). Their maimed, corrupt forms linger in shop-fronts and alley ways, panhandling and loitering, harassing the living for handouts ind pity. “ fhe freshly
WWs 154
dead, embarrassed, frightened, unsure of whac to du ar even what to make t>f their own Mtihition/ merely wait patiently fa-r the living to jcHrt rheir	ing tanks, I hey have also dug up their long-dead
friends and relatives. from the cemeteries, answering the muffled calls from beneath the ground. Protagonist Susan struggles for survival amidst i paranoid population cd inrermixed living jnd dead, while dead acquaintance Mary tries to convince her to join them. Though the premise is fresh and there is a plentiful supply or good rnw ideas., the movie is built around character interaction among л nut cur actors; leaving it scattered and direction I ess. It lacks sustained tension and resolution, and. directs too mnibh energy away from its fascinating conceptual possibilities in favor of erate exploitation concerns (shower scenes, res with a pi^roL etc.).
Shatter Dead presupposes familiarity with, and consciously reacts against, rhe traditional Romero mythos. When trying ro kill zombie Mary, Susan tries to follow the principle that zombies can be killed by destroying the brain: thus shr bears and shoots МагуЧ head and face repeatedly, hot succeeds only in turning them to bloody, mashy pulp, “Sorry, I’m run up there," Mary teturns calmly. Hlr's not rhe brain but [he soul—how do you kill the soul?’’ The dead don't eat or sleep—rtlI biological functions grind to a halt—while rhe mental capacities arc intact. They still th ink and test, [hough so mewhilt estranged from their bodies (one mentions char making a face is Hike placing a long-distance cal I J, Mary larnerits chat no one can die anymore, even jf they want to. She ad th, chat пи и nt can even lie down and rest anymore, since staying m one position for ton long causes blond to settle in unsightly pools. When she knows she*U have to be around living people and памЬ ro conceal the fact that she4 dead, she stands on her head for a while ro get color in. her cheeks. 4s well a* expanding rhe Traditional zombie mythology with added layers of behavioral complexity, the film butcced# in capturing a vague, unmentioned despair rippling underneath rhe fine line that separates the living from the dead.
Ship of Zombies see Horror of the Zombies
Shock see S/aja^s
Shock Waves
Dir: Ken Wieder horn. Fred: Reuben Trane. Screenplay John Harrison., Кад Wiedcrimrn. Cail; Peter Cushing, Впзоке Adams, Fred Buch, jack Ddvidsun,
IfcO	________
Luke IWpi^i L>J. Sidney, tJun Shjut, Jdin Cjrr.lJinr, Ljurcu^c Frirdm-EntrrpnsesjfZopix, LV77^.
In this successful lombie experiment, a strange solar phenomr non 04 causes э German ship from World War II to surface Erom the depths off the сам* of an island, complete with ns long-dormant Crew i=t pfneticalh engineered йОгт troopers. Shipwrecked passcrigEirs rrunt a birtiill cruise vessel meet rhe inland’s only inhabi taut ICushingp in a large, decrepit hotel. The man explains to iht party rhit while he was sti SS officer during rhe war, he was assigned an experimental troop of soldiers de^gobJ to exist in any conditions— in this ease, underwater soldiers, since (hey were io man U-bi'KitS, The Siibiecu chosen were pathological kdkrs and №iwt, and the expenmenr failed because iheycoulcln't be control led r Emerging from swampy wetlands, fresh water rivers, and the ьса itself, the aquatic SS zombies from ihe ship eliminate the cast one яг a time. The soie-survivorgone mad ending, though now a generic commonplace, is well executed arid genuinely disturbing. The control of suspense is excellent, especially in the second half» and the unique zombies them selves are a source of continuous fascination.
The Nazi revenants arc blond-haired Aryans whocc un i forms я те in perfect shape, and who don't Look too putrid or picked ат, considering rhey^ve hero in the sea for thirty years; (hut chrn, they were ^eneticfllh engineered for invulnerability}. The make-up design ь by Alan Ormsby [Children Shouldn't' Play with Dead Things, Dead о/ Ni^fcfL Lushing says his troops are “not dead, not alive, but somewhere in between? 1 heir preferred method of killing is drowning victims in the nearest body ol water, which in one scene is even a fish tank, Tho also strangle with a rope or gairore on occasion, which is the only insTincr of taal use they exhibit. In in admirable show cf pc»[-Rdmeru restraint, they don’t eat their victims and the condition is noir contagious. They spend a good deal of time hiding in the sea, the пкп, or |ust in the bushes. The inseturibk storm troopers never produce any facial expressions, growls, brearhing, ar other vocalisations. Their inhumanly detached expressions are si.nihi.tr when combined wirh such intensely focused malice.
Perhaps the oddest thing, {among many odd things) ubout these zombies is their srylized, choreographed synchronization. Thty ептпе across asslick К raft werk-Devo Euru-^uinbics, surfacing or sinking dtnultaneottdy and occasionally standing equidistant from one another in a staggrred pattern. Tins rigid composure is consistent
Sf/mp 161
isirh rhe cold, methodical rigor of rhe SS^and they would be very powerful if it weren't for rhe silly goggles they wear ar all times. Vthu-n their goggles are pulled off, thc^ stumble around, make a high-pitched squealing hiss and drop to the ground (this is iht only way to dcan-imate them). There arc some good shots of ihr zombies marching ilong the bottom of a river and an open-sea coral rcefT the aernrs doing a much better |ub of keeping air bubbles, in than the aquj-Nazi zombies of the Liter Spanish-French Zomfrie J jfct?. Although rhe treatment of rhe gangrenous жлецремг* leaves much to be desired in terms of £on$hrericy and supporting explanation, S/?ocfe WiWi offers an undeniably creative and inrinvativc approach to the screen presents turn of die zombie, ar the height of the post-Nlg/tf decade in which such innovation was must lacking.
Alternate titles: A/wiost	D't'dHj Corps.
Shrunken Heads
Dir; Richard El Finan. Fmdr Charles Band. Scrr&ipfa?-, Mitrhew Bright. CflSf; |uliu% ICnriii, Ft’iwerg Xcryk Fg.rni, Bed. к у МсгЬчГ, A J i|imn.rc!+ Bti Sharon, Darris Love. Full Muon, 1^5*4.
When a street gang к ilk rhrec pesky adolescents, kindly news-Startd owner Aristide Sumatra (Harr is к a former Ton-Ton Makoure jnd voodoo pricht from Haiti, reanimates the heads of rhe dead hoys bv srewmg them m a bubbling cauldron. The diminutive disembodied heads then Пу around the city to avenge themselves on rhe punks who killed them, while making quirky, deadpan observations in Ж monotone voice.. Sumatra и nd his creepy shrunkefl head minions lov ingly Exaggerate every preposterous line with relish, yielding юте tjupr.igEuli$ dialogue jti an otherwise treadmill producijon..
The street thugs killed by the shrunken head protagonists come back a.s zombies. who gurgle and stumble about with great difficulty as they twirchily perform rehabilirory aocjflJ services such as picking up trash and sweeping. Sumatra says they will walk rhe earth for a short period of time before deteriorating mw brown liquid. The ют-hies are playrd entirely for comic effect, and have consistent problem* weth flatulence.
Sibao
(Episode, Tfrtf SjfflO- Drr: Feter Yates. Frod: Rohctl Rakerh Mrnitj Berman. Teiepiayt Terry bfetion. On^n^t Story; bshe Chatteris. Сил Roger Mew re,
162 Тйе ijrjfcf PrupJe 
кап ПС Roland,. John Сзгмзтц Jerry Srovin, Мечт Wcdd FrQductlonJTTC (Enghfld), 13M.
Oily Roger Moure was smug secret .agent Simian Templar in the British TV series "The Stint* ” я h60s cult favorite 0Q both sides of rhe Atlantic. I irrc Templar travels to Fkiri tci topple local ho« Theron Net!ord (Canon), who is on rhe verge of tapping into the untold sticrcts of voodoo magic fur his evil ends. The nrighburhraid houn-:лпЧ Ivoodtin priest) daughter Sibao (Roland) helps Templar protect himself against otherworldly powers„ while Templar docs a pretty good tnh of protecting himself against worldly ones. Unlike rhe pur-trayal of voodoo in American productions of the time, thi script validates native beliefs as part of a healthy and in tn fiscally x alia able world view, The strangest anomaly is Siban her\e|f, though, who comes across mure as Polynesian than black Haitian.
A treacherously killed man is brought hack rrom the dead in a communal сегипопу, co avenge himself so that he uati rest at pca.cc-rhe d [^embodied soul— which is explicitly called a zombie—remains entirely invisible during his brief return Ю the world of the Ip ing^ He bee-lines through the forest toward the man who г .in him twee, k:i ling him at once through pure fright. Ah wc нс nF the zombie urr ыяпс leaves rustling as he walks through (he forest and a vase gening knocked uver, but hi fact tombies in Haitian folklore are frequently invisible. TV censorship was dnuhilesilj an issue in understating the zombie, bur this is the only screen portrayal I know of— movies nr TV—of an important tolkloric tradition.
Vdt'rtl Death see Vocm/iki IsIuiJ
7 he Snake People
Ori r fai wnFF?p t'lnrnte^ Din Juan ] ha пет. ProJ: L lus Fnrique Vergjira $ст?! MpJjy: .1 uh, 'F.nriqiite Vergara, Jick I Jill. Cas-h Boris Karloff, fahsbd, Car-Io5 East, Ralatl Bertram!, Tftugolde (YohnJii Monies^ QuLrtiirt Bulnea. Filmica Vergara/.Vtec^Coluinbia (Mexico. U.SJ, I9M..
Shortly before dying, Karloff signed with producer Vergara to appear an a series of substandard Mexican quickies^ fur which he shoe several brief scenes in 1 .A. and maded rhe footage to Mexico. Hr certainly has one loot in the grave in this trite tale of passion and voodotji magic. Captain Ldbathe (Bertrand} arrtvtf at i he South Pacific ''Island of the Serpen tv * to stamp out native superiritnm by force, while young
Seri pl writer and MallywChid unit director Jack Hill (kh|, когти icon Btirifi Karlaff (center)t and uthws tUugglc to make wtiM 0Bl«f The bfrfltf P<rti//Jr Whin the cameras start ruJhnic again, Karlofi wdl cither summon i >e vuojno find Baron Samrdi or attend a I uskan Haidar formal.
АлаЬсИя (Julies} fa Ek for dashing Andrew Wilhelm (Easr). Meanwhile, Anabdla's unde- Carl ven Mulder (Karloff, dressed throughuui most nt the film like Cdonel Sandurs] tries to summon the voodoo god Baron Samcdi, who will twins forth legions of the walking dead and begin a new era- Though sometimes strange m rhe point of psychedelic, this
I h4 SgL" SvfnriNM*
rime altering mostly consists of interminable scenes of native rites, women trying co look seductively evil, and shots enekcf-
!t*s stated ar one point that the zotnbies are u-rily victims ot snake venom pnibDiring, which reduces their metabolism and heart rate and bestows the appearance oF death- This venom destroys the brain^such char only i he body is acmalfy kept alive, я nJ rhe person is a walking vegetable. This rational explanation is generally at odds with the supernatural magic that clearly зbounds in the movie» however. Though von Molder revives xuinbk’S CD work in his planfatinns up in the motirnains, his motive isn't capitalist greed» as Legendre's is in V.'/uj'c Zom/ле: he's oah biding time and amassing his armies dI rhe undead until rhe right moment, when ba гоп Sa med i will come io claim them as his own. In her, during rhe vccdoo crrrmunies, there It reference made to living death being a privilege—to be a zombie in the service of Мягип S.imedi is actually an honor. Aside from these working stiffs in the plantations, zombies are occasionally raised on rhe side without von Molder’s permission. In a twisted subplot, his assistant Klirisor (Bulncs) raises a zombie woman For a personal slave, for instance.. He has her scratch his hack, lhen fan him., then have presumably lift In* в₽Ж with him (ir\ rather pathetic tci watch him stroke her unresponsive arm as he lays her down tin the lied). She is sn soulless rhar in one scene, in order to dunce wuh her, he has to move her arms for her, pinning her hand to his shoulder with his chm Го kn-cp it from falling <ilt.
Alternate cities: Cn/f о/ t/te IXdalrJrd. I.a isl& de /ci ir/Kertos,. Island of the Snake People, Isle of the Snake People.
Sole Survivor
Din 1hom Eberhardt. Prndi Dnn hartemever, Screcn^Jdy: 1Ъптп I hrrhirdt. Cast; Атаiin Skinner» Kurt Johnitm, Саггп I arkey, Rubin Davidson, William Snare R. & C. Lar key, 1982
This c urn he nia me elegy is essentially a reworking nf the classic Carnjuaf of Souls (1У6.2К except that in this verbion (he dead are decidedly zombies father th,in ghnst^—they’re dimwitted corpses that jAtit up and walk around, rather than cunning spirits that appear capni-ciously. Denise Watson (SkinnerR rhe only survivor of a plane wreck, is chagrined to find herself pursued by strangely expressionless arid hostile people. Her doctor (Johnson) un help Fully attempts tocoinfurt her by explaining that nett sok survivors of large disasters such as

SugitrHiH 165
hrrsdf die within 24 months. There is in creasing evidence that [he strangers harassing Denise are actually corpses missing from nearby morgues and accident sites: by all rights she should he dead, and they’ve сите to retrieve het The lurking watchers become increasingly bolder, killing anyone who threatens to keep them from Dcnise. The movie is slow and funereal, with long pauses and silences punctuated by brief and humorless attack sequences.
There .ire sonic ghostly incidents (such as phantasmal shadows and voices from nowhere}, bur overall what's emphasized is the concrete physicality of the returning departed. Thus the county mortician is puzzled to find that even though ihe corpses were reclining or sitting at the time of their deaths, all the blood has since drained tn their legs. Thi- dead wander the streets, standing around staring at Denise eerily—sometimes for hours on end—waiting until she’s alone before attacking- Although these thoroughly malevolent undead have a cool and whrr patience ieven for zombies} that allows for a few creepy moments, on the whole there isn’t much to distinguish thtm from the weirdos that also hang around city streets staring at people.,
Sptfcjf Zombies see Tbe Asfro-Zam fries
Strange I'urf see Voodoo Скшт
I.as Suenos eniiteos de Christine A Vir^iw Amo«g the Living
SwgtfF Н/7/
Dir: Paul Masliins-ky. P/W: Elliot Schick,	Tim Kelly. Cast; Mark!
к<?у, Robert Quarry, Don Pedns Colley, BctT) A nite Rees, Richard I awson, Zara Cully, Larry D. Juhn*(Mi. Anicrican 1лвН*МСкхм|1 Pitturrt, 1974.
M.asla.nskys only foray into directing is a humorously dared Ылх-plortation feature that keeps the familiar di ruination-revenge plot iifloiT with bravado (sorry, I mean with ^attitude, Daddy-O ’L After her fiance Langston (Johnson) is beaten to death by local gangsters for not rfllinp his bar, Sugar Hdl (Bey) gets local priestess Mama Maitresse (CullyJ to jununun the vuodoo god Baron Snrtiedi (Colley}. Appearing .is a well-to-do gentleman in a black suit, top hat, and tane, he offers lu help with her revenge- The dead promptly crawl from their leafy graves and form a small platoon of hit men who assist in her methodic assdssioatiuii of those responsible for 1 -ingsfon’s death. Robert Quarry [a.La, Count Yorge) plays the gang's leader
1 hh Sagar Hilf
SLKiARHJLX *u^f/ARKIB€V ROBERT QUARRY DON РЁДОО COLLE >
REEQ FUCMWnWfWS&a IhAaCMU* WbB, rM4U> fhurtbltwl» *•
Marti Bty and her slave хотчЫе« ute no jive from white у in Зыдог f!i?J (1974).
Мен SUGAR HILL and her ZOMBIE HITMEN!
and gets saved for last. I here is link genuine rcntio-n—th-e villains are summardy dispatched» md rhe protagonists, arc never really m danger—bur retro-hounds will have a tie d day with the ’70s. phrases, hshiiurti, itnd ’fro® (Sugar wears her hair down during the day, but wears an afro v. hen she kills!. I he racist сЬагэсгентздюп is unimaginative I у tiinpliirie, hciwevcr, leaving the racial moral heavy-hajidod. The movie wa?i shot in Houston rather than New Orleans, as originally intended, because nt егицЫп with the Teamsters.
77лг 5н/'чтнд/1¥гя7$ 167
The zombies represent □ throwhick to rhe classic zombie cmi-cepluati nation of the ’30s in J ’4(h—they don't cat their victims, show nn visible decay, are fully subservient to their voodoo masters, and don’t gencrant hurror other than through their visual аррглгппсе. Their most unusual feature is their eyes: shiny, silver orbs, some with black, reactioidess pupils in the center They have a bluish-white hue, wear tattered pants, and have filmy cobwebs all over them. Quick and silent, the slave zombies kill m a variety of ways, including hacking to pieces, strangling, and throwing a victim into a corral of starving pigs.
The interesting twist on these undead ii their history: they are the former slaves who died cn route from Guinea in the 1840s, and were buried in mass graves, in the swamps. They still cjrri chains and shackles on their arms and Legs. When Samcdi first calk them to Sugar's sen icc he tells her, "Put them to evil use—that's all they know or want.” This is as close as we get to meditation on zombies in rhe movie, or even to acknowledgment of them as independent entities. In fact, they are pure weapons or instruments, brought out when needed but otherwise ignored (even in this racially conscious film, the slaves are still utircflecdvely put to work]. Throughout the him the zombies are thrown in for purely ртлплгоцч effect—they aren't even needed half the time they do appear—and suffer from unconvincing make-up on top of cinematic obsolescence.
Alternate titles: VboJrso Go7, Zo/h/j/cs of Swgur Hill.
The Supernaturals
Drr Arnicind Mastraianni, JVcjtfr Michael S- Murphy, J™4 Чшюп. Screen-pieyt Jncl 5ОЙМЖ. Michael 5. Murphy. Cut Maxwell Caulfield, N'ichcllc Nichols, Tali л Balsam, Margaret Shendal, LeVar Burton. Bobby Di Cicco, Scuti Jjuuhy, Bradford Bancroft. Republic, 1986.,
Captain’s Log, 1986г TV dirfcror/produccr Mastnoianni creates a nostalgic ghost story’ about rebel zombies righting old wrongs in rur„d Alabama. Young Jeremy is rhe only survivor of a Civil War massacre of POVb s committed by the 44th Union regiment. Now he’s an ancient:, cowering shell of a man, while his mother Melanic (Shendall continues to haunt the area as a forever youthful ghost. When a group of green modem-J,i у recruit* From rhe U.S. Army, under rhe command of Sgt, Leona Hawkins (Nichellc Nichol-ч, a.k.a. Lr. (Jhura) show up ar the oid minefield sire for maneuvers, Melanie ihmks that Private
] (5-K TdJfj from the Crypt
----------“ »'..................................................
Ray Ellis i Caulfield) is her long dead husband retu med ar last. At her bidding, mud-cakrJ Ojnltderarc нмпЫи stir from the ground a nJ from the old underg«Hind barrackв (hat have Served as rheir tomb, and slowly mount an offensive against their ancient enemy, the 44th, Though there are a few chilPing scenes, wsch as a race through fields uf sharpened wooden spikes angled upwards, the scripting is thread bare and rhe characters unchuriFmaric (.Cordie I arorge (L.cVar Hur-ruti| is also on hand, doubtlessly on some mission from the future.
The zombie vestiges of the Con federate prisonersuf war still have on the ripped, soiled remains of their CSA uniforms. The moldering cadavers mostly arrack by creeping up on their victinas and grasping them with their dr% blackened hands, hut (hey also carry rifles with bayonets, and break into a volley of fire octet in < while. Weapons have no effect on them, and none of them arc dcammared in the course of the movie. There is a terrific shot of rhe scraggly rebels, emerging from rhe foggy wood framed by Span Uh moss, hut the film pays tar more a trend и и io bland Melanie than to her 20111 bit army.
Suwmp of the Bluad Leatrha ice The Alien Dead
Tales from the Crypt
Dir-. Freddie Francis. Prod: Мл к Ros^nlierg, Milton Sv but tky. Screenplays Mi I Eon SuboEbkvr CdM Sir Ralph Rit hirdian* Juan Collins, Oliver Mac-Cireevy, hn Hendry; Angie Grant, Peter Cushing, Robflil Phillips, Richard Greene, Barbara Murray, Nigel Patrick. A m icuh/Metromedia ProdiIters (bng land), 1^72,
The English production company Armlus, si, pioneer of the long-popular horror anthology, entrusts five tourists to rhe gatekeeper of hell, who confronts them with their various crimes. B.i^cd on stories from the comic book of rhe same name, the episodes turn on ironic twists usually involving supernatural! revenge for human sins, In the seen nd segment, wealthy snob Etliut (Phillliips) harasses kind but scruffy dustman Arthur Grimsdyke (Cushing) in order to clean up the image of rhe neighbor ho nd, at last driving him tn 5ui1i.de with an orchestrated series of hare valentine cards. On Valentine’s Day a year later, Grimsdyke's moldy body climbs fnini the grave to return the greeting. lie leaves a valentine pnem written in blood in which rhe final word which needs co rhyme with “start”) is rhe victim^ actual heart* ripped out and folded ш rhe page.
The fourth ule b* “ Monkey 4 Paw” variant in which u bankrupt
Zombies li»4
l?njnCicr’K wife (Murray) is granted three wishes which* neediest to say, a LI come true in unexpected jnd horrifying ways. Since ом of her clumsy requests leaves her beloved husband i mur Hared corpse from i car wreck, her final wish is that she have him bach alive, for ever Bur his body immediardy hemins to writhe in pain, while a family friend explains that, since hc4 been embalmed* the fluids running through his veins arc burning him. He will be allive forever* as she directed, but suffering. To help break the tension from this .wd the last ssrgrri^ne, which are particularly cruel, all the characters in rhe frame story яге tumbled off into the bunting lake of hell.
Exorcist
Dir. Grant Auwlin Wildman. Prod-. Drew Ahn Waldman, Cr^nt Austin Wald-man- Screenplay’ Brinkr Scevens. Story: Fred Okn 1<ау Ош: Lddic Uerton, Bnnke bteVefti, Oliver DatTO®, Jay Richardson, Tom Shell, iiltna Sahagun, Rtihirr Quarry: Austin EnrerpritM/Wald-,4Pay Films* 1991.
A demon Trrrnnws people in ал old mansion, keeping them from escaping by calling, forth a humble army of the flfsh-cating dead to surround rhe premise. Unable to exorcise The fiends. Father McFar-ren I Robert Quarry) tries to divert them instead by sh owing th rm curd tricks. The zombies are so dull-witted that he has to pick their cards for them, and then fools them, with eionpU “Whafk that over there?1* ploys to peek at rhe card selected. The ghoulish rubes arc impressed anyway.
TeeMiifff Psyche Meeti Bloody Mary see The Incredibly Strange Creatures Who Scup/wt/ f-iwwg and Became Mixed-Up Zombies
Teenage Zombies
Dir; Jerry Warren- Prodi Jriry Warren.	JacqiMC UCovet Cast:
Dem Sullivan, Katherine Vitinr, Steve Conte, J-1--D. Morrhoci* Bn Murphy* Paul Pepper, Mitzi Albertson* Jjy Hawk, Governor, 1957-
ln this kirsch epic from matince-BurLi Jerry' Warren* a hunch of Archie's Gang-style kids with names like Reg* Pam,. Skip* and Dot-tie go out watL’f-skiing and stop for lunch on liny Mullet Island. A mysterious woman (Viccor] living on rhe island hab her mindless scr-vant Ivan throw th-cm all. in a cell in her basement instead. ^Look what kind of a creep joint is this?” complains Reg. It seems that foreign powers arc scheming to R.iibduc the wur^l through experimental bacteria
17(1 Terror Crtftftares /row the Gnu??__________________________
which, released in rhe water supply Of dropped м gas, will render the entire population mindless and obcdienr slaves. I heir experiments so tar have miued the mirk, however; subjects have become either utterly unresponsive or too violent, Pam and Julie are given the expt r-irm-ntal scrum, making them zombies briefly; hut cur gawky heroes find [he anti dorr and wind up saving rhe country, Geared toward rhe Saturday matinee children audience of on earlier era, Warren's productions don't always age well, but this syrupy tale is especially trying, Warren remade the film in 1981 as the far more enjoyable Fnm^OTtenr /j/anct
The “jonibies” атепЧ revived corpse hut merely drugged subjects in a hypnosis-likc trance, Al [he beginning of the movie there** a brief scene in which entranced workers slowly shuffle by in a linen carrying goods, but other than that, Ivan is the only visible * zombie1* until the climax ч When nor following orders, he stands still, staring blankly ahead, his arms slightly cut from bta body at each side. At rhe climax, Pam and Julie are only zombies for three minutes, and since the women arc only background figures throughout the movie anyway, their zombie stare isn't much of a difference- The nth would do better drawing attention to the crazed gorilla or subhuman hunchback also populating rhe island-, rather than to these unexciting adolescents. Watch for the intriguing dock-worker zombie drones in I’rankeHStein Island iи5lead-
Terror litack sec of the Seagulls
Terror Creatures front the Grave
(Ong- Crutjur Jafliibr per «я medium}- Dir MnxEimo PupilLj Frati: ргдлк Merk, Ralph Zu скег. Scw40ryi Robert Nathan, Robin McLurin. Gdafc Barbara S[etlt!+ Walter Brandi, Mirella Mara vid i« Alfredo RlZZC, Riccardo Garrorie, Luciano Piguzzi. MBSCinemarinaRea/GIA Cinematngrahcaflncer-njitioTial 1 riseгтмпincur Рктиги {ТтлIу, U-Sj, 1^66,
A dead spiritualist avenges himself upon his treacherous wife and business partners by calling back medieval plague-spreader from their WU- уел г-л Id graves. Appearing only in rhe closing minutes nF tin film, the bodies climb from their tombs and begin an indiscriminate attack on the living until driven away hv гл in (they cansr tolerate “pure walet 'i. They are only shown briefly in shades, or in л quick glimpse of rhe odd grubby hand protruding from a tomb, bur nothing more. Though tlie build-up is phenomenal And the mood is
Towffcs ofihe BHntd Dead 171
terrifically macabre, the actual slaughter anti-elimacticaIly occurs entirely off-screen, Italian z.o tn bit movies are no place fur Greek tragedy.
The Thirst of Bamn Blood see flitrw B/ooff
Those I rwf and Bloody Vampires see iowtbs of the Blind Dead
Thriller
Dir. John Landis. Prod: George folsey Jr,, MmIm*1 Jackson. John Landis. Scrrrn’pfijy: John Landis, Michael Jackson. Casii Michael Jackson, Ola Kay. Optimum Proclurtiant, 1983,
MoonvoiIking chert-topper Michael Jackson, after seeing John Landis' An American Werewolf in London, called I j nd is in the middle of the night to ask him ro direct a video For the title track of his phenomenally popular “Thriller" album. Although the resulting video followed a zombie rather than a werewolf story line, Jackson insisted on turning into a wolf-man anyway, Walking down л deserted street at night, Jackson and his sweerhearr (Rayl arc Ijeset by a troop of slick, high-budget ghouls. Ffc rcspond-s by becoming n zombie a I mi and leads the others in a coordinated dance routine. Though duzy with conventional horror frames and devices, the video still treats the basic Nfjr^-inspired zombie invasion sequence seriously enough to capture the feeling of claiiatrophobia and helplessness, if only very briefly. Jack son Ъ convulsive dancing style suipi the twitching zombies almost tuu well. Thriller was rhe longest video to be shown regularly on MTV, and the only one to run with film-style (scrolling) credits. Loopy Jackson is so out of touch that rhe video opens with a disclaimer stating he doesn't actually believe in the occult.
Tbmfr of tbe Undead see Gdridew of ffee Пело!
To/wfes of the Blind Dead
[Orig, Lj яис/jf deLfe/r^reM'pjK Dr>: Amando de Oborin, Prod: Jose Antonio Perez Giner, Лежир/лу: AmanJu de Ossorio. t jsJj Lane JIcming. Cesar Burner, Marian Elena, Jose Telman, Maria biKa, Rufino ingles, Veronica Limrra, Juan Cbrtrs. I1 law Films/lncertilrnc |Spain, Porrunal), 1У I.
Spanish filmmaker de Ossorio earned international fame with this widely popular rale of blind zombie monks, creating .1 tresh mythoi-□gy and unforgettable skeletal zombies* al! set against imposing scenic
172 ТшибФ of the Hit nd Head	________
backproufldf.\ Solitary camper Virginia (Ekna) trespasses onto the gmimds, of an ancient Tuniplar monastery m the Portuguese coun-try&ide rind is promptly devoured hv rhe zombie muflk$ still haunt-ing it. Her friend* Roger (Burner) and Elizabeth [Elemi ng J go to invest igatc rhe monastery themselves^ bringing along a couple of dangerous outlaws for no apparent reason, The monks kill oft everyone except Elizabeth, and. by boarding some passing railway cans, proceed to яр read their camaga to rhe local town and possibly beyond: in fact, rtiis (and no! Romero’* trilogyI is the film that established the unchecked, open-ended epoenlypse as я standard zombie movie COrt-clusioib Cruel character dynamics only complement the movie’s com fortkss mood- De Ossono presents rhe enure apocalypse wiihour apology or sentimentality, leaving a nagging suspicion that he expects us to side as much with hizombies as with his characters. Most obviously, however, Tojwbj fotusc-s on the acsrheric rather than the moral elements of а|Ч>ся1урм: u offers breathtaking scenes oJ the monks, framed by the crumbling archways and dusty mired cloisters of the monastery, hacked by an incredible gothic score by Ant6n Garcia Abril. De Ossoho madr three sequels (flefwrn of the Eml Dejd, Horror о/ the Zowtfeifj, and Might the Sgagulis), ill featuring his farn<M.is monks while varying the settings and background mythology, while other inferior dunes predictably appeared as well (c.g.t Сгода о/ the Dei'U and ЛкшЫ о/ the Lirrwy Dead).
Dr Ossorio's znrnfc.ici arc among the finest (if admittedly over-riprl fruits । d I he genre.! In rhe thirteenth century, rhe lempiar monks .ipp.in-nfly came back from the crusades bearing rhe ankh, rhe Egypt ian symbol of etiTnai life, instead of the cross. They sacrificed many vic rims in Their dark immoral lily rites until nt last they were caught, cxcosiimuii feared, and executed—and when their bodies were strung up, crows came and plucked out their eves (hence the blindness). 7 he cadaverous forms now emerge in musty, mottled grey cowls, with tightly-drawn» leathery flesh and wispy tufts of heard still clmging.ro their blackened face*. They glide Го their victims slowly, even by гсить btettaadurdfe in Д solemn procession or alosolurc silence—there is no growling, heavy breathing, nr п-ihrr fam il in г дотЫс Approach accouterments, only the hAunting chords of rhe monastic chant ind the lonely sound of the wind. The blind zombies seek owe their victims by sound (generally without fail), hacking at them with large swords and then gnawing it them for blood, Whereas vampircn draw blood through rwo Jeht,atc and precise puncture wounds, de Ossorio's
Tdxic Zunr^irs 17 J
monks strip mine for in, No zombie is Jeani ma ecd in the muv.ie7 nor is there a hint of what sort of thing might deanimare them. They яге simply ururoppeble.
While rhe zombies themselves are moth too slow to pursue a fleeing victim, they have the added advantage- ut a troop of ghost horsee at their command. These spectral steeds gallop gracefully through rhe courtyards of rhe monastery and rhe surrounding fields (effectively -liown in nwiioii). appearing out of nowhere and disappearing afriin when nor needed. Both on horseback and on foot, the zombie inouks. arc visually srunmng* ar onct .reminiscent of the grim reaper as well аъ rhe tour horsemen, and their slow* inexorable attacks break new ground in scenic tension.
Alternate titles: Пт Blind Dead1, Crypt of the Ritfrd Dead, cif the Blind Dead* La Nttchc de kt marrta cirgd* Thoss Cruel end fi/oqjy I fampires^ Tombs tif the Bitnd Zombies.
Tombs of the Blind Zombies sec Tombs of the Blind Dead
The Torture Chamber of Baron Blood sec Влгон Blood
Toxic Zombies
Dir: Charles .kkCrann. Prod; Charles McCrann. Scrtejip/dy: Charltb McCranm. CtMf; Charlo Austin* Beverly Shapiru, Dennis Helfend, Kevin Hjnluii. Juth hruwn, Philip Гм rfirtkdTjOhn Amplas. CM Productions, 1Э70.
Drug cnfnreemcut ufficiah spray a backwoods Tennessee mari-Juan a. held—growers included—with txpcrimriiUil herbicide "Droniax," lJusing those infected ro heave profusely and become rampaging mutant cannibals. Forestry department official Гот Cole I Austin I rakes his family on a fishing trip to the area, where they hook up with Amy (brownJ and her aimpk-miftded brother Jimmy (Hanlon—bim-wlf something of a zombie in certain scenes), whose parents have fallen prey to the zombies. The band must contend against ignorant lotah and government cover-up thugs, in addition ru rhe titular oppo-ncut^r Though rhe Prnmax ta supposedly recoiled after ths incident is contained, a gas stniion attendant sneezes siMpiciousJy in the dos nig scene Tht gore is mechanical and tht acting uneven m this strange blend of slow-piauu pathos and splatter-gore, whLh despite the title mostly pkiys it serious. line (Amy to brotberh “ l Hh is fungus— it grows on dead things/*
The individuate exposed tn Droma» develop open sore$.h boils.
174 Valley af the Zombies_________	____
and peeling flesh. They aren’t killed m rhe chemical transformation, and thus aren't technically zombies so much as homicidal maniacs. They are immune re pain, however—one walks barefeoted through broken glass unflinchingly. The mutant ghouk sometimes eat the flesh t>f their victims, but mainly they seem ro just suck blood; cither wav they lose interest tn any given kill very quickly, and move’ on to rhe next. While they prefer the flesh of и neon ram mated persona, one doesn't scruple to nibble at another ghoul for 4 moment- They wield locks, machetes, .and other weapons, and in fact, these enterprising mutants have mastered the use of fire: in one scene thev come out ol the forest ar night with lit torches—which they most luve constructed and ignited themselves somehow—to bum the protagonists out or □ cabin. Bur then again, in other scenes^ some ot them don't even know how to open a car dour. Since they’re not really dead, they can hr killed just as normal people (stabbed h shor, etc.). Despite inconsistent behavior patterns and embarrassing acting, Toxic Zombfes has the dubious honor of inaugurating the entire “redneck zombie" ^ub-gjenre that would thrive inexplicably in the "fifth.
Alternate title: fiJ’rjWedfrrj.
The Treasure of the Living Dead see Oasis of the Zombies
La Jnmba de las muertas vivientes see Ctors of the Zombies
Twilight of the Dead see The Gtites of Hell
Gli Uihmi zombi see Zombie
Valley of the Zombies
Dir. Philip Ford. Prod: borrrll and Sfuarf McGowan. S^rrirpidv: Darrel] and SmuuK McGtmaa. Story: Rnya.1 K. Co4e+ Sherman L Lowe. Cash Kubcrt Livingston, Adrian Booth, lan Keirh, Thomas JacksonTQiarks Trow bndge, Earle Hudgins. LcRuy Млизл.- Republic, 194f*,
One nf rhe most promising of zombie movie titles actually conceals .3 feeble act ion-thriller with only rhe barest hint of the super-natural, and featuring neither a valley nor a zombie. Medical students Ferry (Livingsron) and Susan (Booth) help police investigate a scries of murders, o( which rhe pair are suspected. Behind the crimes is Ormand Murks [Keith), a man pronounced dead four years before, nnw inexplicably parading around in ridiculous Victorian fashions. Murks explains that his work as an undertaker led him to a strange
VW/ey of г/jr ZcwiiMi’-i 175
Evil unikrtalcr Ian Keil h keep* hirnwlf immortal! ihrouRh rcgolar blood infu-iiony, while hypnotized h«rtnn< Adnan Broth aeuftt him dcvpiie hcridf. Yflu d&n'l know where [hat hand has been, in Vj/fey of tbrZtrnAia (1246}.
quest for ihe world “in between" life and death, and that he found this dabicHM boon among rhe voodoo rites and potions of a certain “Valley of the Zombie** mow maybe ita part of lus life might have made an interesting movie). It seems fairly clear he was never really dead, bur only tn a cataleptic trance simulating death; in any event, he now nerds continuous blood transfusions to counteract certain unstated effects of his ill-defined living -dead "affliction.^ Murks has been stealing blood from brain surgeon Rufus Maynard (Trowbridge)^ but with increasing boldness, he take* to killing people of his own hlood type and draining rheir bodies himself. Car chases and dioob Ours round out rhe lukewarm thriller frnm Republic, a fitudio known for its action serials, The horror dements arc only sporadically mixed into its action-detective format, while a continuous stream of witty banter prevents rhe establishment of any sustained atmosphere. Such is the sad fate uf Ian Keich, who was originally up against Lugosi for rhe parr of Dracula.
176 VrHgmFirt erf the Zombies _____________ ___________________
La Vendetta Jrr morTi iinenrr see Vewgeawcie r>f r(w Zombies
Vengeance of the Zombies
(Ori^. Ld rttWirfH eftf Lj> fmnwJ(M). flu. Leon Kllnioi'sky. F^r*dr Jnse Antonio Perez Giner. Screenfiluy. Jacinlu MulilUL (Paul Naschy). Cash Piul Naschy, Rummy, Мша Miller, Vie Winner 4 Victor Altar ar)* Maria KosrL Luis CigfS, Proftlnws/ProdTioHlni!» (Spain* Tta1>|, 1972.
Paul Naschy (pseudonym of prolific Spanish director and screen-writer Jacinto Molina), better known for hi> werewolf rote “EJ Hombre Lobo” in a long-running movie series, diversifies with a plodding and unengaging zombie mystery. After her family is murdered, upscale I nndonrr E’lvirn {Rcurnrny) Falk m love with her Indian guru Krishna (Nasehy) and gjoes to stay with hitn ar his country estate. It turns out rh;it Krishna's older brother Кяптлка (also Nasdiy), who wields <кси1г voodoo powers and can raise the dead, is seeking revenge on Four British families who almost burned him alive man) у tars ago, for raping and killing □. daughter front one of tlie famdieC* Other mem-hers of Ksntaka's entourage, also followers of vc>odoot become increasingly disappointed in him for selfishly abustng his power, which was granted him in order to "spread voodoo" throughout rhe world. I hr must interesting feature of this clunky talc is rhe jazz pop score that sounds like game show music, usually at crust-purposes with the scenes of honor and romance that it авдкпрздэек Burn of Russian parents, director Klimov sky grew up in Argentina and was a ptac* living den List for 15 years before turning to filmmaking.
Rantaka raises corpses using rhr blood of his victims along with wax dolls, while worshipping the devil (Baron Earnedi] in low-key btKtneat black masses. Kantaka seems to raise only women for his undead army, all wearing black robes and slinking around with seductive expressions. They arc ashen and liudt but. otherwise show no external signs of wound» or decomposition. They don't speak, but mindlessly obey KantakaTs commands, falling to the flour upon his death, [‘heir motions ate highly stylized and unnatural, as in. a $k>w-motion halier, ind in the opening credits a zombie woman prariers merrily over tombsroftrs, Mons Novocain, please.
Alternate titles; FC^/>eWmn о/ (fre U’omfji.* Reroff of fhe De-jx/ ()«₽j, M reWcttd Jcj Fwtjrfi nn'drwtj,. Wif/t of f/je Denti.
Vengeful DeW see Reneirge of the Zombie (IS^i)
№ Vi Jen	177
The Very Important Zombie Affair
(Episode, Alan /rum 4J.N.C.L.EJ. Dir: David Alexander- FruJ: Mun Abrahams. ТскфЛгу: Haris Ingsier. I ash Robert \:iughn+ David McCallum, Linda Gaye ScottT Claude Akins, Leu G. Carroll. MetroTknldwyn-Mayer, 1965,
III late 1964, the slack, light-hearted, James Bn nd-inspired Ahw from (J.N.CX-E. series was on the verge of cancellation because of low ratings—but within a year it was topping Nicbm charts, heating nut Ed Sullivan, Ж Dfcfc Vjh DykeSbow^ and other primetime staples. “The Very Important Zombie Affair,” shot in October and airing in December of 1965, appeared at the crest of the sevond-season mani.i—making these rhe highest profile TV zombies prior ro Michael Jackson's TbrtWer video. Too bad they barely have more than a cameo or two Napoleon Solo (Vaughni and Iliya Kuryakin (McCallum) take a break from fighting THRUSH agents, heading lor an unnamed Spanish-speaking island in rhe Caribbean. I here they topple the local dictator EJ Supremo (Akinsh who turns his political opponents into zombies. Solo and Iliya arc too focused on lheir mission ro worry much about the living dead, Spies are supposed to be cool, hw in this caw rhey could at least raise an eyebrow!
El Supremo turns people into zombies from the comfort cd his laboratory by playing a tape record ing of a voodoo ritual and administering the necessary chemicals, He keeps them on a remote ranch for no Apparent reason other than ro prolong their suffering, since all they do there is rake lisrles^ly at a dirt path. All the irimbii's wc see are bl ack |, wearing uttered w^irk clothes, sun hats, and leg-iron^. One of them claims to he dead, and there is nothing in the script to suggest hess wrong—except maybe that character zombie Delgado m "cured* nr his zombie stupor in a voodoo ceremony For all the my=> Tiqur the title and careful foreshadowing seem m want ro evoke, rhe episode shows little more interest in the zombies themselves than do the two main characters.
Tbe Ve/ггал ret Dead of Night
The Video Dead
Dir. Robert Scon. Prod: Hubert Scott. Scrwnphy. Roben Scwt- Cyrt; Rocky Duval| Raxanna Aiigcsm, Sam Davis McClelland, Vickie Ьаые1, к ac St. Mfcliael*, Jack Strliman, Diane Hadley, Ратткк Headway. Al Millan, Lory Ringuetre, Interstate 5/HiShlighr Production, 1987.
17Я The Video M
This unsung zombie adventure is a nice surprise, offering gripping лсиоп as well as thoughtful raed.rtjnuns nn zombies. A ht-ar-up .1 V ini ended for the “Institute for Studies un the Occult” is accidentally delivered to the wrong house; zombies ропг forth from the screen to harass suburban kids Jeff (Duvall) and Zot (Augcsen} before wandering <лит into the forest behind the house. With the help ot levas Cowbo) Joshua Daniels (McClelland), who’s hjd experience fighting rhe tclrzombic^, Jeff mounts an unsatisfactory offensive against the wooded welling undead. .More loose ends need tying up—such, as the connections between the zombies and the other residents of the mys-rerious TV [a nymph and a “garhageman7"). Though rhe narrative movements are improbable at best, the movie is vivacious and maintains a successful balance of сйгпр fun and genuine suspense.
The half dozen or so cannibal zombies that emerge from the “Zombie Blood Nightmare' movie аге highly tattered and decayed, with black skin and chunks of flesh missing. There are even rats Jiving inside of one, я nd they scamper out when he's sliced open i he 1П,1г(.1си1я[г undead, who growl like dags guarding a bone, display rudimentary intelligence jnd even retain moderate recollections of household objects: one breaks the phone curd when stalking Zoe, while another sits in a car and pretends to he driving it Most impressively, in undead bride becomes the first serpen zombie to wield л •chainsaw (others follow her lead m La Cage aux
These zombies exhibit an unusually complex brhuvioral and psychological make-upi they are driven by more than mere appetite. t hey arc playful as they wander through the homes in die neighborhood: they sit around a table. fondle household objects, Hip through picture books, etc. Two, having just tickled thenudves silly by playing with a blender, are further amused at killing a maid, and laugh like school kids. Their childlike playful □ess reaches it* height when they put a victim upside-down in the washing machine and turn it or, just to watch her legs *pm around- They're also capable of lust, jealousy, and a wide range of other emotions, A ghostly white David Bowie look-alike zombie admires э phuto of an attractive young woman, for instance; while the bride zombie puts «п я wig, and flits mru a paniL upun seeing hrr gruesome reflection in я mirror. They avoid mirrors because thry cinT stand to hr reminded a| what they have become, and so Daniels has mi rears taped all over the front door.
Daniels es plains that the zombies don’t feel physical pain, but that nonetheless chey often respond, with appropriate pain behavior
The XiJf о Dead 179
lhane H ad I су expresses bridal anxiety in The Vulcv Dfad (1УК'')-
sirtlply from me тогу and. habit. Thus, Though ccmventional weapons canT kill them, they can make them believe they’re dead for a I i rile while. Daniels further explains that their hatred results from their no longer being human: they can’t bear tn 1сн>к at themselves in their present state, and they can’t stand to he reminded of their otherness through peopled reactions of fear or disgust- Therefore a show of friendliness lulls them intn submission, and in я masterfully taut scene, Jeffs hysterical sister Zue has to save herself by mviting the fiends in and pretending not tn he afraid of them. I hey make testy but overall civil houseguests: she seats them at the kitchen table and serves them Campbell's soup [though they don't show much interest in it, and we never actually sec them eat anything hut people). One Kings hh glass, h in ring far something to drink, and another puts an rhe (broken) glasses of one of his victims, wearing them askew for the remainder of the film. These twisted scenes ol family life and its daily routine* make creative use of the zombie in domestic space, presenting mem* orahle images and thoughtful contrasts, Contemplate, tor instance, the zombie bride gleefully pushing buttons on rhe blender and operating the washing machine—the same mindless occupations that would have been her lot had death nor saved hcr ai rhe threshold.
L'Jie Vrejjif t/tez /« rnnrfj tzr'tra^Cf see Д Virgin dmorttf the Liuititf Dead
1 40 The Vineyard
The Vineyard
Din Rill Rice» Jnnics Hong Pr^i- Harry McL Story: Harry Mok, James I Tong, Sc^eifnptay-, Joints Hon^, Dnug!j.b Kqndtj. Ош: Jjmcs Hung, Karen Witter, Michael Wurtg, Cheryl Lawson. New Wufld/Nontistar, 19#’?,
A strung kad from James Hong (also- co-director and co-writer) livens up an East Asian vampire takF Hung ii Dr. Ekon PoD л wnrld-renowued winemaker who lives rm his own island oft the coast ot California h and who earns immortality from the God of the Wind with the help id a concoction that he brew s fruiii humin blood, The island is rite with dark secrets: locked upstairs is Po's crazed and ancient mother (looking like someone oh a Twisted Sister album cover); downstairs, his dungcun is filled with chained-up women, whom he keeps half alive on maximize bis bleed supply* and all a round, the vineyard is strewn with the bodies of his past vicium. now [onheiited zombies. A group of boneheaded poindrxrers visit the island and foil him, The mail scientist and the vampire motifs are fresh in the con-fest of Chinese rather than European sorcery, but rhe film falls into the usual	hurmr ruu, preferring isolated shocks to any grad-
ual build-up of mood.
The living-dead bodies strewn throughout the vine? a rd arc uon-tsnua11 у restless, t hough they only hover on the p*riph с гу о f the ma i n action until the final scene. Once culled hum РоЧ vineyard, thus-c full-bodied zombies have a bold yet fruity bouquet and a winsome piquancy In the meantime, whenever they begin ro rise and converge against Po, he keeps them sn check with prayers and a bag of “sacred eanh.* 1 hey rr generally slow (though at least one has a fast right hook), and several use tools (showing a preference fur big sticks). Their brief appearances through our rhe movie give the impression that interesting things will eventually happen, bur when at last it ripens, rhe vinegary zombie invasion sequence is fjirh mechanical ci nJ only lasts a minute и г two.
A Virgin Among the Living Dead
(Ong. Uns vuvge ctar Ici rtforfj uii-JsrRfiK Difi JesuS Ргэгкп, St rcrFrpfay; Jesus Franco, Peter Kerut, Henry Hrald. Starwtft Ошяшм топ Rhine; Brnt Nichak Howard V*noo, Ann Liberty кгъи* Kicked, Paul .Muller. Brux Inter-iiatiq.nal I'lucurcs (Spain. France),, ]37L
Director Franco and actur Vernon ream up yet again for this
1 В1
atrophied psychological horror, which is over-stylish and impres-bi<]histiL Tu the point of inouhertncc. To hear ihe reading of her father's will, Christina (von Blanc) visits the castle of Xk» rise rat, where she meets her morbid I'ndr Howard (Vernon) and rhe haunted houseful of usual suspects-. Ignoring rhe warnings from her hthuA ghost that she ought to Ясе,, she has repeated visions and dteams until finally trapped by the bizarre family and led down into a pend by л certain 1II-expt,nnrd “guardian of night “ New characters appear ar inter-vakT often nut to be seen again. The end deteriorates into a random serie-i of screams, mippers of scenes from throughout rhe movie, and drcais-within-dream sequences punctuated hv her waking up hme and again: thus it's never скат what 4 a dream and what's reality, and certainly not worth rhe energy ru figure ir out. There arc some inter esting mythological background fragments and whi)c lyrical couches, hut rhc^c дгг never sustained.
One tif Christina^ rec urn ng dreams is of a zombie attack (these scenes were supposedly shm by J erm Rd Ilin, and only later spliced into Franco's boring Ctrisrin^	Jr i’&trtwnc}. Pale hands
emerge frnm [hr thick coaring of autumn leaves on the forest floor while she's out on a waUq a handful of ^umbics then pursue her back ro rhe estate house and up to hcr room. The bad-teethed srife gri-macc menacingly, reaching out for her with extended amis and open hands. Breaking into hr r ruum, they surround her and grasp at hr г while die huJJles on the floor. i hey look riusce goofy rh.in scary aS they crowd around rhe camera, wriggling their fingers and grirming like idiots.
.Alternate titles: A aaiume	Among rbt Living DrrfJ;
Cbrisima ebcz ies morts vu'antu Chriittmj, fiFinresie de I cralriw; Ofr/sfiHtf. 1‘rince^ af	CbFisn^, 5>.v Priflcert; Le
hbyrivthn La niiil des efoi^s	i os swpiioj ^roftcos Chris-
itneh Zombie 4; Zombf fiob^dusl.
X'ints ite \tgbf и/ tbe Zombies
Virus l*J sec NtgJ/Z of tbe Zombies
Virus—L'infemo det morft vii^eitfi see of the Zombies
Voodoo
Dir. Rene Eram- Prod: Donald P. Borchers. 5cflt«/jTj>: Bri<m l^iMiiEcin, Dino Viadeni. Cast-. Corey Feldman, Joel J- Edwavds, bten# Nadeau, Ron
182 Vwc#c^j*i Dunw
Melendez., Sarah Doughs, Jack Nance, Maury Giriiberg, Amy Rattck* Bryan Micbacl McGuire. Planet Productions 199,1.
Th is run-of-the-mill campus thriller crosses Heart with Адоодг of the Nerds, as if that were a niche that really needed filling. Simply looking for a place to sleep, Andy (Feldman) joins strange frt-terniry Zeta Omega Mu [rhe ‘"Zombie House*). The entire fraternity is under rhe control of Caspian Marsh (Edwards), a preppy, white suburban vqoJoo priest whoseeta mi mortality from the serpent god dess Azili. Thr other members. of the house arc all Eombks+ whom МдгьЬ i$ collecting for a mass sacrifice. Andy de feats him with 1 voodoo doll and colored powders. An interesting premise rapidly gives way ю атоск motifs and. pint twi&tf», dfScrioraiiEig into a com pletely conventional hero vs, villain 'iluiw-down. Yes too shabby.
The member* °f rhe Zombie House are supposedly all undead, but tixx they behave normally, the claim is never really tested fluid doesnY mean much (hut one member does watch n lot of TV). They go through the motion^ of being regular college students, though it?s said they have no souls. Interestingjy, the movie rakes Advantage of the fact that zombies canY tolerate salt; a common feature of tom-bie folklore that doesnY often make it ro screen portrayals; Andy slips some in a fellow ZciaY her, causing him to lapse info a fit of convulsions. Bur all the zombie dements arc largely surface trimming;, and the ггнп ic is far more CnncErijed with mind games л nd mile bond mg than with rhe undead.
Voex/cio Hfond Bath see I Eat Your Skin
Voodoo Dawn
Dir-. SccTtn FierhcTg, Sierta Madder. Зсгннр&гу: John P.ussn, J's FTrey Dri mj.n,TIicjhjj.b Rcndun, Evan Dunsky. Guff: Haymond St. Jacques,,Theresa Merritt, Inn у Todid, tins Gershon, Kirk Ba tly, Belly *Sly" WiHhirns. Jr Grant Albtfechl. Stillwell Froductiniiu, 1989.
College students Miles (Williams,) and. Kevin [Rally) travel Ir^m New York City to a rinal Southeastern migrant worker camp to visit i heir srKLologhr friend Tony. Among г lie mrjirsnt workers is evil vaoduo priest Makoutt (Todd), who collecti body parti (starting with lony's head) ro make an "Okokiyari," or Vnodtjfi Min The srudenrs. meet up with comely Pina (Gershonk whose camp is heing terrorised by Makoutc. Wise Claude (Sr. Jacques) and herbalist Madame Dusky
Jsfrfnd 1Я1
jMerntt) together defeat Ми ко неё and then his Okokiyatl monster with з vnndiio dull, I hough acting and production values ate the script is outdated by abour forty years and assumes we want to ice more witch doctor than zombk. The supposedly Haitian characters don't sound Haitian.
Mak out t has the zombies work the fields around bis house; thus they use hoes and ocher gardening implements. They o nly attack with their hands, though, throwing ill-coordiinated punches. Though one bites Claude 4 arm, the re 4 no indication that they cat flesh (or anything elsc)= rhe bite appears co have been merely an attack. Inexplicably, a iijmbie seems, tu work at a nearby g»s station, checking Miles and C laudt's oil at rhe beginning of rhe film by wiping the searing dip stick on his fingers rather thin a rag [but he never does tell them whether or not they tired oilh I’ina drives a metal rod directly through a zombie from side to side, thus preventing him from going th rough a doorway—he isn't smart enough to realize he could turn sideways to get through. The ending of the film rs rhe best parr the next day, after Miles and Claude say good-bye to Tina and everyone kaves, a repeated к nock в ng sound emanates from the empty house—inside, wc yet the zombie impaled with the sideways rod, still trying aver and over to get through the doorway.
Alternate tide: Strange Turf.
Vaotioo Girl sec Sngjir Hili
Voodoo Island
ihr: Reginald Intorg Prnd: Howard Koch. Screenplay: Richard Landau. Cm* Boris Karloff, Beverly Tyler, Miirvyn Vyet Elisha Conk, Rhndes Rea-son, icin Engstrom, Glenn Dixon. Bd-Air Productkma/Unirrd Artists, 195 7>
This atrocious South Seas yarn might be fit for Tom Servo, Crow, and rhe M Satellite of 1 ovt" Crew, bur not much else. A team scoping out locations for a new hotel go« missing in the South Pacific—only one of them turns up, as a mindless vegetable drifting in й boat. Surly hoax-buster Phillip Knight (Karloff, who's never played a more obnoxious character) takes a small crew to investigate. On the mysterious island they battle fake carnivorous plants and crabs whose kg1* don't move, until at last discovering a lost native trihe dwelling deep in rhe jungle. The only good scene is (hit m which two native girls play carelessly in a clearing until one Is eaten by a big cabbage. The
[44	JsAthJ
Crotchety llnri* karlnif (kft} wanders. whether it would hr easier (0 Lilt recently Tomhiticd Murvyn Vyr (.rti^h' J nr rhe thatched Pulyncnan hut forty-hvc decrees to (jet rhicn to m itch* in rhe rotten rattan adventure Vnodrm WW (1957).
same yearns	j/erolso nie^pliLлЫу connects zombies with car-
nivorous ph-ns.
There is no apology for locating voodoo trt rhe South Paciftct Hut the characters eqII it that by name, л5 well as calling the charms “ouanga^." The зи»Ые Mitchell (Dixonl is controlled by a voodoo doll, closing, his eye when the doll's rye is sewn shut, Though nil physiological functions arc normal, the subjects* misidf have been erased., and all they do is sir in г *t,ind and stare into spare. Zombie Mitchell evidently has some glimmer of consciousness deep inside xhar tries to ger run periodically: he gets an intense look on his face once m л w hile, and twice gets up of ht$ own volition and staggers SEiHly for a short distance before collapsing. The other character zombie, Fincht h led oft' the island with the surviving expedition at rhe ritd< presumably oevex to recover, these zombies arc in tri лыса! ly disap-pointing. They serve no marrarivc function in the пют1е, but help document Hollywood's confused response tn rhe creature during a period of transition.
Alternate title: Jiih'Mt
VtKjd'tHJ МйЯ IH.S
Voodoo Man
jDf'ri Stiliham BeaudinCh ГпхТ Sim Katzman, fuck Dietz. Story iwrd Jcreer-p/jyt Robert Clurlrs. i’m Rcla ] ugosi, John Carradinr. Getirjje Zucitih Wanda XkKiy, [.nuuc Currie, Michael Uno [Tod Andrew*], К lien H all, Terry Walker, Henry Hall. Monogram,. 1344.
Mcrtl<jgram\ ?ombie repertoire gm increasingly audacious with this nonsense, featuring я pantheon of 15-horror stars and not one hypnotized zombie woman (as in. both zombie movies of the previous year) but a small ph toon of them, Doctor Richard Marlowe (Lugos i [, whose wife Evelyn fHalli) has lung Languished in a ha if-living zombie stupor, cries to return her to sentience by transferring rhe souls of women he abducts from a nearby road into her. He must find one who shares л mental or spiritual "affinity1' with his wife, but in the mean n in l, the failed soul transference experiments leave the victims soullessmobi*K which collect in the basement. Though Marlowe has a fully-equipped mad scientist laboratory, the soul transferences arc actually brought about by means of an absurd religious ceremony conducted by Nicholas (Zucco), gas station owner by day and worshipper of voodoo god Ram boon a by night. H-horror writer Ralph Dawson (Ames) helps police uncover rhe nefarious operation. Zucco is jiillyi Lugosi diabolically charmmgT and Carradine is downright frightening as rhe sniveling, idiotic keeper of the helpless zombie women: he strokes their hcadsT saying, “Gosh-ymfvcgot nice pretty hair," or eYou*rt fl very naughty girl." The closing credits entreat the audience to buy war sating stamps and bunds—4on Hale m this rhe-atref”
Marlowe insists that his wife Evelyn has been dead fnr twenty-two years, and she hasn’t aged a day. He initially hypnotizes the women he abducts fur the soul transference: ceremony, but when rhe ceremony fails, they lose rheir souls altogether and remain in lhe trance indefinitely. There's nevef a sonic that the failed subjects in. rhe basement are dead in any physical way, though Marlowe repeatedly calls them w zombies." They wait with open eyes and empty stares, standing continuously in alcoves along the sides of a corridor. Lltcy have coifed hit and wear long, white evening robes reminiscent of Jessica's m f	When led our of the cells, they walk in line, their
footsteps in sync, and they follow simple directions concerning, when to walk and where to stand. Though there’s never a flicker of mental or cnioricm.il response, there are occasional signs of independent
I Ht> tt'ar of the Zombie*______________________________________
vdit ion "One wanders oft randomly from her cell, for crstancr, when the door Й accidentally left open. The movie's whole zombie clement primarily comes across as parading women around as visual objects; MarlowtS experiments amount ГО a veritable machine for female objectification, with women going an one end and women's bodies coming out the cuber.
WWA q[ the Dead sec Vengeance of the Zombies
War of the Zombies
(Origb RawaiJ eurttM JltwidJ. Dj>; Giuseppe VarL Frud: Ferruccio de Mar ci no, Massimo de Rita, ЛсдоггрЦу: Piero Pierutti, Marcdlo Saltarelli. (^rsis John Drew Barrymore* 5u*y Andersen, Eirare Manni, Ida Galli* Mino Doro, Matilde Caiman* Ifvjinn ^racciolk ATP/Galatca Films flcrdy], 19£3«
John Drew Barrymore plays the evil sorcerer Adalhar in this tepid Italian sword-and-sandal adventure. In the distant province of Salma-tia, as rhe high priest of an Eastern cult that worships some sort of suspect Cyclops-Buddha goddess* Adalbar leads his people in a rebellion against Rome. Finally he raises an army of ghost legions from fallen Roman soldiers, and pits them against the living legions in a grand bank scene. Brave centurion Gaius stops the undead cohorts by blinding the Cyclops goddcis statue. Though overall Ujf of ihe Zombies is primitive and цл exceptional, the army of ghost soldiers is pretty disturbing, tinted bluish-purple and advancing to a disjointed choral arrangement. Adalbar wears a fruity magician's robe, and a wnman walks over hut coah.
rhe resurrected zombie Roman* till our an entire army, complete with arch er и and cavalry, They art mindless juggernauts, uTTcrly incapable of being destroyed until Gaius pulls the plug on iheir goddess. Actually chcyTe not much like zombies and don't especially act any differently from (he living soldiers* but the superimposed filmogra* phy snd rwrvtcd hymnal music lend them a lingering* uncanny impression.
Alternate tides	Sfjr—Godfdejj of Electra.
Warning Sign
Drr Hal Barwoed. ЛгаЛ Jim Lil осип. 5creenpfay: .Hal Biirwcod, Matthew Rubbins. < jsf: Sam Waterston, Kathleen Quinlan* Yaphrt Kottu* J ffrey De \1nnn, Rlchsrd Dysart, G.W. Bailey. 20th Cenrury^FpscT PH5.
П itS?
thi? environment? I disaster movie fries ro disnracf attention from its wear} $r&ry Lim: and trite moralizing with J ware red-do wit zum bie subplot. BioTek Agronomics, ostensibly an agricultural research plant but m fact a Department of Defense germ research bait, suffers a enn rami nation leak and the entire building is. sealed off. Sheriff Cal Morse (Waterston) eaeabi into the plant with former employee Don (De Мишй to rescue Dan's wife Joanie (Quinlan), while evading, the other Employee? who have become murderous fiends from the fugitive germ. Eminently forgettable.
The “Ьпгпа* virus rhe plant has bttO perfecting is transmitted by means of a higkly contagious germ (“lacto-bacillus lunuM«i»iif% which shows under black light as glowing blue areas on г lie s km. The virus affects rhe “rage center’11 of the beam—ar first killing the hosts, bur then reanimating them again as raging tenders sporting bloody, open sores. Although purely aggressiw, the subjects are still ratiunal enough to scheme, umbush, etc. The ami toxin that counters the virus in the end comes from a pregnant woman4 blood.
Alternate nrie; Bfabowd,
Wax work
£)ir± Anthony Hickojc Prod-. Staff an Ahncnherg. &«₽"play: Anthony Hfckox. Cmt-- Zach Ca1lig.uiT Deborah biN-mw, David Writer, Michelle Johnson,.Patrick Мдспм, Шла Ashbrook, Milts O'Kecfa, Vcsiroi] Pictures. 1Ж
A wax work museum is actually the! front hi г gateways intn alter-паи? worlds through which rhe characters traipse and confront a variety of classic ci nemat к monsters. In a black-a nd-white scene, protagonist Mark (Galligan) finds himself in a graveyard ami. survives a brid rnccninrcr with a hordc uf zombies that crawl from 'the grounds Hr dispels them by announcing that they1 re only illusory and that he doesn't believe in them,
Waxwork lh Losf ш /
Dfri Anthony Hitkux. Prod: Nancy Гд|пкш. StWHpifly: Anrhnny liickox. Casri Zach Galligan, Monika Schnarrr, Alexander Godunov, Martin K?inp. truer Campbell, Michael Des Barres. Elecrrk Pictures,
1ЯЯ Wrffcttd at Rennet U
A zombie cameo appears during the wh if. I wind-paced finale nirirt-tagc, in which the hero (Galligan) and the villain (Godunov) conduct a sword fight as they trip through a ijuinluir ut possible worlds via a т i tn г door. One of the worlds they briefly pass through is a zombie-infested mail like that in Duuw of the Dead* in which a mobilized, task force darring through rhe multi-level shopping complex pause tt wonder at the two swashbuckling, strangers.
Weekend at Bernie’s II
fJrri Robert К1дпс. .Prucf: Victor Dr*i„ Joseph Ptrcz» Згл'сл'^Му: Robert К La	AjlJrt^’ Mk,t,Jith.y. J  il *J. E L. П Jl "L* inJrli ! i г 1^1-, I ,-IL
Wright, Steve Janvcs, Tmy btver, Barry BosrwkL Tristat Pictum, 19$ J.
In ibis energetic rwo-day ccnnic-advcBturc sequel in the Ferjii Riirlirr tradition, Larry (McCarthy) and Richard (Silverman) try ru [rack down die two mill ton dollars that Bernie Lomax [Kisrrji uni buz-zled and stashed away on St. Thomas in the Virgin khkftds, Though dead iliroughout the first film, this tune around Bernie is partially raised as a zombie bv voodoo magic—bitt because a pigeon is carelessly substituted fur a u+iickeii hi the ritual, he only animates when there i$ music playing apparently Caribbean religious rituals readily lend themselves io zany antics). Eventually discovering that the cash is cw tea led under water» I and Richard dun scuba gear and follow the torpor (strutting linng to music through л pair uf headphones) tr (he undersea treasure.. Against diem is Barn Bostwick (и Brad** from JSoriby Ndfircw'). Though nor always ns humorous or irreverent ns it wants to be, there arc мхпе entertaining Ohoments and rhe pauc is never slack. Looks like it w*i funded by The Virgin к In rids tourist commission»
Th.tr voodoo rinaoif involve the n-umial chalk circle., ggnt^i blood., etc., but thi- zombie behavior is most unprecedenred. Remie4 sorelj abiisecl corpse rwhehes and gyrates to life whenever music plays, but plop* over again as soon oft stops. Hie tutrering, rhyihmicstriui r con-ven ie nr ly allows him to participate in i conga-line: dance, and due to a cord entanglement mishap, rhe unwitting cadaver even takes ro the sky for a brief para mailing srinr. Ort this m-ost eventful of zombie tactoonfrr he even has a brief ahait, and parricipaitt in the second1 thark vs., j-ornbie cimfronration of the big screen (tbe first is in Zom-bit?). J-Ils undri’btaicd boogying is wdl-playedj and even when Bernie isn’t animated, it’s hard. no< [O be amused ят people dragging his body around; he’s repeatedly banged and snagged, dropped and jabbed.
AT cvkrsti л V Rrnrir rS I! 1
Deady	Bernie LoirtAK (Center, Teiry Kiser) iv я link livelier jn the
«ecoftd Weektnd 4ir (tended (1^3), clunks ш a vpod«u bpdl and tn his pah Andrew McCarthy and jtmaihan Silverman.
190 WArte /.wibte
and he rounds у if the film with з harpoon transfixed through h., held. Now if чогпсопе would dr* th*1 ^me tor rhe Griswolds.
White Zombie
Dirt Vktor Halperin.. Prnrf; Edward Halperin. Sow^fdey, Ciarneir WeeSH-Omit. Beta Lugodn Madge Rcllnmy, Joseph ( awih im, Robert Frizer, Jnhr tUrjon, Brandon Huist. Атияспксгм SeriirjricbiTJtiiced Artis*sh 1932.
Though rickety and sranc-drenchcd, the first zombie movie remains one of the most successful of the dozen or so trvrti [he da> ska I Hollywood period. Madelia? (Brlhmy) and Neil (Harran) sir married ar the Haitian estate of Beaumont Prize г —but drsjiuag Madeline for himself Beaumont incurs the aid of voodoo master Murder Legendre I Lugosi) to turn rhe unlucky bride into a zombie The soulless ептрлтоп isn't aa much fun as he had irnagineiL however, and to mm plicate matters, Neil shows up with a local missionary to retrieve his wayward wife. The villam1; qnd zombies all wind up pushing each other over a cliff. Though While Zombie is clearly bound by the melodramatic conventions of the &rage (the movie was based on □ phy by Kenneth Webb)* and hastv т fully parted from (hr acting and production conventions of the silent era (actress Bellamy w*s a silent acrecn им), ihese somehow complement the dreamlike Gothic atmosphere the HaJperin brothers weave around every settle. The protagonists aren’t especially sympathetic, but Lugosi is m top iorm and (here зге some powerful moments—particularly the zombies slating a [irrkhhly in the sugar null., rhemteives sndiSTinguishahle from the gears and machinery.
Legendre learned his dark secrete from a voodoo shaman dressed м a Disncy-csquc magician, who now serves a* one of Legendre** Eombk valet4,. The st iff-limbed, wide-eyed undead are41 a live in everything^ but heart and mind., and Legendre ohserve-s th.it were they to recover theiv senses. They would tear him to pieces, Well, they could try, bur these undead are л clumsy Jot- one zombie in th^ «.ugar mill tops into the machine works, and at the end, Legendre’s tiinre troop nf zrjnibjr slaves cartoonish I у run themselves over a cliff, when the person they're attacking ducks out of the way at rhe last moment. I he zombies a re basically atmnspheric garnish.
There is also the case of Madeline, however, the film** one character zombie (the “white4 zombie). N^hcn Legendre steak her soul, she stares ahead listlessly, in one icciie playing rhe piano w ithour even
ШпЛЗиЛГМГй’Г 19 |
Robert Frazer left I i?n"t sure be wanti co accept ibe son of help Bela Lugosi (rght) u offennjt in U'Wr Ztimbit 11932). John Peters [center) is iht KrsC rrut zombie nf [he iihcr screen.
pay mg arrention to hff own music. Unlike the other undead., however, she retain* at least a slight degree of литипотп^ ^mce she pines away for her beloved Ned. When Legendre is killed, she completely shakes off the trance and wtirW to normal. While the native •om-hies arc objects of fascination and horror Madeline Is rhe object ot pity, with a spark nF subjectivity mill evident deep beneath the layers of external subjection and control. Spunky actms Madge Ik 13иmy went on To shoot her mdlmnuire boyfriend in 194 $ for marrying another woman, Later commenting, “I only winged him, which к all I meant to do. Believe me*1'm a crack shoL*
Wotnaneater
Dir- Charles Saunders Prod Guido Corn. Sfrjry rfwd Serfm^ity Ftrartlkm Hcming. Cflft;G«eg₽eCoukmrib, Vera. Day,Peter Waynt Joyce Greg^Jimmy Vaughan. Fnrtrryii Film’s (i rigland), 1957.
1И2 Z₽der
Mnnunjuniiieal Dr, Мигал tCou lourisl the sap from ан dbsiud carnivorous tree with wacky* flailing brancheiro resurrect htfi discontented maud Mirgarer (Gregg}, hut is nonplused to find that she comes hack only as a mindless zombie- She rises trom the tabic slowly and tnes tu .ittick passive heroine Sally (Шу}* but only makes it n few Jitcps before collapsing to the ground. [Jr Лша гоп мп witch doctor who originally gave Moran the zombie-ma king technique smugly reveals that his people сап гацьс budi the mind and body of the dead-, but that they would never divulge to anyone the «СГШ reanimating the mind, lie might have menrtonrd itai ей Moran earliei
Zeder
Din Pupi Avail. PiW: Gianni Minejvini* AntonЮ AuatL A?rc™pfjy: Pupv Avart, Maurizio Cosrafl’zo, Anionic Avail, Cdjt: Gabriele La via, Annr t a novas. Paolo Tanziaui* Cesare Barbeni, Bob Tone! I к F&rdtnando Orrstidi; AMA FilmrfRA (Ыу),Ш.\
Though rhe nenng, direction, and production values nf Avati'j stylish kalian mystery are solid] the tight build-up of the firsc half only deteriorates into irresolution and incoherence. Aspiring В dognese novelist Salvado (Lavia) pieces together clues surrounding ex'priest Don Luigi Costa, whose death doesr г quire add up. Salvad-o leai ns that Costa had himself buried near ап Etruscan necropolis, because the ground isftn especially powerful ^K-zonc" (a region in which normal natural l.iwi» arc suhpen dcdl and the du ad arc run truly dcadk All the movie's suspense apparently builds to the climactic horror of seeing ( osta resurrected; but лс the tail end of rhe kalian zombie movie cycle, after seeing undead armies visit apocalyptic devastation on rhe earth time and again* just watching one man come back from the dead Jiid wulk around fur a couple of minutes can hardly produce rhe intended impact.
Zombie г к m erits begin to appear mostly toward the ecd, when a pair of ghoulish hands emerge tmm rhe ground to чиаnpie snmi?-une, and when Costa ret urns from the dead as л humic id л I monster. I к smirks toothlessly as he coolly lollows Salvadо around a hocdcon-struchon site. If there are suppuMid tc be other zombies Iuuse in. the area (which might help explain the murders.committed before Costa reviveslt they're never shown or aceounibed tor, Salvador hea/cthrub Alessandra (Canovasj nko returns as a zombie at the very end* [trst long enough m fall into bi* arms and kill, him in some unseen manner,
J | m
Undead Costa and Alessandra. apparently just walk around rhe site a in' I г ь > I y; what happens tn them after the death of Salvado is left open. Ir s all pretty thin.
Alternate tides: Revenge о/ гйс Dai^ Zeder—Voices from the Beyo/id..
ZtJtr—Voices [twit the Bfyflwtf see Zeder
Z&mbi 2 see Znrttbie
Zombi 3
Din Lucio Fuki. 5/0,ry	ScfMnplay; Claudio Fr.igassa. Off: Dcrin
Sarafian, Beatrice Binj', Richard Raymond* Alex McBride* Ulti Rtinchakt, Marina L.niH Otborab Ber&aimirt* Alan Collins, Mike Monty- FI сил Film (Iralyh 198».
Indefarigablc J uki, who helped spark the hurozombie wave in t9'’9 with Zombt 2, brings it to a belated close almost л decade later with this concerto* in-gore-major set in the Philippines. Here the accent is tin shoot i rig, fight tug, and running a* a small group of soldiers and dancing women find themselves trapped in (he midst of a raging cannibal zombie epidemic caused by rhe usual bacteriological warfare experiment gone д^гт. Meanwhile, mellow radio personal iry Ши-e heart” keeps the public informed ovtr the airwaves as the crisis unfolds, The renegade characters move tirelessly through rhe jungle* avoiding the countless stiffs incest nt Uy pouring out of half-demolished buildings and dark corner^ At last two survivors escape in a helicopter, and turn on the radio only ro find that BJueheant himself is a zombie. He ushers in a new, enigmatic era of the undead: “Dig tin these immortal vibes, people.... New hori/xms have opened up,... This is now rhe new world* and the new cycle has begun. J'or everyone. this is the year яего* sc there's loti of work to be done.’ Most <if thr movie is a quik of scenes and merits shamelessly pasted Together from Ddoofthe D&id and Ке/мги of ibe L/Mhg Dt?dd* but fast pacing and continuous shooting hdp disrract from rhe absence of plot or character development. Despite the name, this- outing has nothing ro do with the characters or events of Zcwrfo 2- IS run о Mattei [Ni^r u/ Z^mb^si finished directing the picture after holer got fed up with it and left.
Thv "Dea th-I compound’ virus spreads easily through hfot>d. saliva* Mid breath; rhe infected person then develops pustules and begins to deteriorate very quickly, Fulci offers boils of unprecedented grossness,, which pulsate and run with, rivulets of nasty fluid. The
194 Zowifrrt'
zombies .ire crooked and bent* and they morin and can even rasp a few words. While they're all pretty ugly. they come in a variety ol speeds, from stow and shambling to steakhy and chterah-fasL I h< zombies can imk reel* (ranging from swinging a machete to operating a radio broadcasting station}, bur don't seem to very often. I'ht charterers can generally dcammate them by shooting them repeatedly or damaging them severely, but ir isn't specifically necessary to disable rhe brain {which is notable, beenuse Ititians. generally cling tv ihar convention more religiously than anyone)- I he silliest touch is a self-propelled head th nr flies across the rmm to sink its reeth into a character, though a close runticr-up is the unborn zombie fetus of an infected pregnant woman who tears through its mother’s abdomen и grab the victim standing ovtr her Fulci's zombies aft sometimes creative and often entertaining^ but his unqu nchabfc drive to provide shocks and to diversify rhe zombie encounters inevitably Leads to glaring inconsistencies.
Zmibi .1.' Du Juwe vitrti? see Lei Sleeping Corpses Lie
Zombi Hohenuif see Dr. Butcher, Af.n.
Zurtrfrr	set A Virgin A wrong the Living Dead
Ztmrbie see Dawn of ffce Zombie see I Lett Уош Sfrm
Zowfe
(Orlg, ZuJrt/tj 2), f.Jir: Lucio Falci, PfljJ: Uga Tucri, Fabrizio de Angelis. Sereimptety. EMm Brigand. Gjj(: Visa Га trow, lan McCulloch, Richard Johnson. AlOivrr, Aurpita Guv, Stefania 1У Anu r in. Ol gi «.irlalob. Variety Films. [Italy}, 1979,
Romero's Djj^h и/ the Dead was a huge success in Europe, ind imitations began appearing almost immediately. Hlei's Zomr/ri 2 was among the first and rhe bes-t of these (to cash in on the success of .Otjir-fl, -whose European release rule wa? Zombi, Fules shamelessly named his ttnrehied movie Zombi 2}. Fuici takes Romero's mall and suburb zombies back to an exotic island string, situating rhem in a creative rangeol circumstances, and shrouding the whole in a droam like ambiance. Arnie (1 isa Farrow, Mia's younger sister) and reporter Peter West [Mi( iiJInch) hend to rhr Caribbean island of Mntu] tu search lor Annehs father. The bland i$ besieged by an unstoppable plague of carmihal. zombies, how ever, and the two must fight their way across rhe island with a uuupk of friends to make a last stand in a missionary church. The zombie epidemic has meanwhile spread
Zpwikrr 145
Coniiviul lurnbiei dure a Ikht-hrancd moment in Lucio Fulfil cult favorite Zombie (14^4),
to die mainland, and the during scene shows rhe undead roaming freely along the- bridges of Manhattan. It's True dial Fulci’s debt io Rurnfro sometime* borders on theft, but ht also offers thoughtful variations on the familiar motifs, with imaginative visual effects such as energetic camera movement, interesting angles, and careful coni' position. The scene m which Nanmi+s. head is dragged through a bro-hen doorway and her eye pierced with a huge spli.nier is infamous, a scat-squirming moment by any reckoning- Л slew of Italian zombie movies followed in Fu lei’s footsteps, and he hiwdf made at least three further zombie essays. fU/t Gstes о/ HtfJff, Tfce Beyondi, Ztwrfii ?}, In these he experiments with л range of moods and settings rather than repeating the same form uh, but Zumbie is still rhe mo^t entertaining and mflueriiiid of rhe four.
Here Fnki’s sunnbies conform faith fully to Romcreft Ntgta-Pa«w conventions: they ear human flesh, their victiilis fist as zombies, an J they ^ап only be dean im.i ted by destroying rhe head. Fin Fuki explores diverse contextual possibilities (such as Spanish conquibtadur zombies), and fucoses on the personal mannerisms nf rhe undead as few other film makers do (such as the zombie whose head remains lowered while he brings a rasry morsel tn his mouth m a fluid яге that, rhough it k)nks unmtuirivet actually repreaents the minimum of required movcmertT). These whinsht crumbly ?.nmbiers are especially
1 L’b i'be Zombie
Things. кюк дпгп for the Bi^ Apple in the rknlrtg moments nF l-ulci\ /iQtw-ЫН1979).
repulsive» with. Fidci4 characccriitx accent oc writhing worms. Rather incongruously for cadavers supposedly devoid at body processes,, however rhev produce heavy breaching sounds of the Darth Vader variety. The most on dan dish scene is am underwater grappling m.ttch between j ^tcjJt whire shark and a zombie who has carelessly wandered dawn to the Ocean floor—they [west and turn in the briny deep around a scenic coral reef, each gnawing sizibk chunks nut ef the other.
Alternate titles: Island of the Living DraJ, &тм^ие/й, Gii ultimi zombi* Zombie Flesh Eaters,
The Zombie [1966] see The Plague of the Zombies
The Zombie
("Episode, KnJcfrirJt? Tike Night	Dir; Ales G ra»kh idf, Frot/i Paul Play
Jun- Т^р/иу; ZcHal Marko, David Сказе. GaJ: Djtix.ii McGav^n» Simon OUdhnj, J. Pat O’Mdkft Ряпкгъс Myers. Earl Faison. Umveirsah 1974.
Before: Muider and Scully there vm Kukhdk (Xlcliavni., a hapless < hicago reporter in a fttraw hat who confronts vampires^, wolf-men, and other stuck fiends. Ili^ camera always breaks, su he can
Р.л/нЫе < 197
never prove his remarkable st-cny. Mobsters accidentally hump oft FrancUK Edmunds |F liwri i Haitian numbers ry rt ncr whcise m Either ь a voodoo priestess i Myers) She nevi ves her stm so lie can go around breaking in two all (hose even vaguely implicated in his death, until. Kolchak tracks him to a demolition lot and manages to hang him with a suspended cable. The Stories of the Nj'gJj/ State er senes tire hammy and the monsters Are by the book |silver bullets, cw.}4 bur an eye for derail aad lighthearted absurdities (such as an implausible inner-city monk informant wbo*t up on illegal Haitian immigricn addresses} provide a certain flair. The real key to die success of the '70s crime-solving bachelor genre, of course, was a strong lead personality (flock-feurd, Barctra, McCloud,. Quincy dni^ though he‘s IKK a great fighter and doesn't pack heat, Kolchak i$ as burly and antisocial as the best cl them.
Francois the hulking, spine-snapping bLick zombie has no independent volition^ hut uni у carries out his mother's direLtlons (he's a good boy), Die nmsr graphic of any TV zombie, he is thoroughly decayed, with mottled splotched and exposed, stringy tissue all over.. I he mocr noteworthy innovation is rhe method of dcanimJting him: his mouth is filled with salt and his lips are sewn shut |likt the zombie in The hour Skulls of Jonathan Drake}. Thus killed once and for alb at the end he’s buried for the third time* while Kolchak—desensitized to the occult—sourlv adds, "ar rhe taxpayer's expense/ Zombies return to Chicago the following year in a feature-length TV movie, Tb.e Doni fJte.
Zombie J see Ruritii Grottrid
Zombie 4 see A Virgin Алтой# the Living Dead
Zombie 4: After Death see After Death
Zombie 5.* Revenge of the House of Usher
[Orig. ЕМлинJjwiwrfo Л b Cmj b'^rr). Ргг Jesus Franco. Prod: Dinicl LeiOfcur. Sereenpldy; I LL licistauic. C<Mtt Howard Vci‘ritJiiT Djhi VlIIcrs, JtJn Tolzac. Joan Virly, Fiwu^cnK Blanch л rd» Oliver Nt л to- EuiudD£/Elire(FrancEk Spain), 1982.
Demented 200-year-old Dr. Usher (Vernon) keeps his daughter youthful— albeit in a half-life, half-dcdih stupor-through regular
1ЧЯ	£.	uf rfef
bloud infusions from rhe prostitutes he kidnaps (a plot (harwM weary in the days of Lugosil- 'I hough Usher’s assistant Morpho is pretty ugly* there ire no zombies. Obviously the distributors who circulated rhe English-language video prints under die title Zombie 5 couldn’t find anything of any promotional Hie in the rambling, pretentious, and outdated yarn itself.
Alternate rides: The lull of the House of L$^rt Los crMra & Usher., Neurosis, Nrrn.ist*.
Zombie 6: Monster Hunter
(Otic. Antbfopfjpbagns JJ|. Djf: Aristide Mavsiccrsi. Prod: Aristide Mas-засдак Ltanatelta Donaii. Stury and srntrrtpJdy: [uhn Care. Casn George Eastman (Luigi MonteEinre)+ Annie Bdle> Charter Borromei, Kjtya Bergey Kjsimir Berger, Hanji Kvehansky, 11П Danhy^Ttd Ruidff, Edmund PurdurrL Fihniragje halyl, 193 L
MiSSiccesFs boring formula-slasher An/Lrujb'Oprjgks II has only the thinnest connection with zombies, but was gjven the deceptive title Zombie 6 in certain English-language video releases anywiy. Yhknsta nopal is is an escaped laboratory subject rendered murderous a nd unstoppable! through medical experimentation, but he still gets dune in by a hrя try boy, a baby-sitter, and a woman in traction. His blood regenera res itself at three times the normal, rate and coaguhtes extra-ordinanly fast—thui, like a aombie, bullets and weapons don’t harm him, Furthermore, since brain cells don’t regenerate, he can only be killed by destroying the brain. He’s а1ю speechless and he takes more punishment than Rasputin, but tor a I this he still cuts phene lines, removes bodies from plain view, and generally comes across more like Michael Myers than а мппЬit*,
Jess. Franco’s Л Virgin AritDit^ ihe Living .Dadd 19711 was rc-dubbed Zombie 4 in seme release prints. His boring V^urosis (better known in English ns Revenge of the House of Usher] was renamed Zombie 5 when dubbed into Ln^Lish and put to video, though there's nothing even remotely like a Forcible in it. Just tor rhe record, no movie named Zombie plus a number has anvrbmg to do with anv other numbered Zomhia movie, even those by the same direcror (Lucio Fuki did both Zombi 2 and Zombi J к To illustrate how ccn-fused matters can ger, consider that Bianchi’s Le notti det terrore (PtiO} has also circulated as Zombie J, thai Fulci’s Zombi 2 was released in tvorth America as ZomJkir, and that Romero’s Dmwr of
/.anthte and fhf <ДчвГ Jfmih 149
ibf	rck.ised in Europe lis Zombi. Ironically, despite all ibis
enumeration, no movie has yer been mark whose original ntlr is just plain ZirTTibif.
Alternate Titles: AtaurJ, Мплдег Нкп/ег.
Zombie ’9()r Extreme Pestilence
Drr Andreas Schrta^i F™fd: MatlhnB Ktrl, Rail Hess. rfrwpfiiy; Andrews Schyi.is". Ccfift M.ijihkis Ker|„ 14 nil f Hess, Machias Abbes, Marc Trtnkh.iu^ Christian. BiallsLs. Wolfgang Hinz. Bluod Pictura/Reel Gore (Wise Germeny), mo.
Andreas Schnaas (known for his Viok^r Sbit movies) achieves new depths of aesrhetic and cinrmntic vacuity in this hyper-am.neur+ Tongue-in-cheek effort. Л plant goes down carrying an cxpeTimmtn) AIDS vaccine, and naturally rhe bright green liquid rhar spills out turns everyone into bloodthirsty zumbic ghouls (apparently the vac-cine still need* a bit of work), i'he plot is a veritable fugue ol baroque complexity: a cuupk of scientists run around while zombie* chase thrrrir Everything takes place out in the wonds^to keep down oncosts. The zombie* follow rhe usual Rtnncra specs (must be shot in the head* love to squish entrails around before eating them, etc.)T except that they also use a fair number of weapons such 3S chainsaws and machetes. The violence is sick and gratuitous^ much of it targeting the genitals (both male and female), and rhe whole is pervaded by fl fascination with bodily excretion. Aside from a grating pft<redii sequence, the most tedious episode is rhe protracted one her ween [he opening and closing credits.
Zombie and the Ghost I rain
(Drig. Zow&ii?APwffljwtfiu/irHj)- Din Mika Кдшiuriki. Smejfpkyz Mika KauriamikL Сел Silu SeppaU Marp Lcmonrn, Mani Mcmpifi* Vieno Sauristd, Juhani N’icmrh. Marianna Filnis/Villealfa H-ilmpniJuciinns jFin-Lindl. im
Koi a horror movie at all, lint.ind's nominal ennrri hution to on г subject is a depressing story of a directionJesti young rebel gradually being consumed by his own alcoholism. Known to his friends as “Zombie? Antti Auriomaa (Sfppdia) wanders around empty, grey city streets in « Ысэк winter landscape, avoiding Mdctd and perKMifll obligati oik Relationships, family, JhJ even an inv.Li.it ion ro play with
200 Zo uriЛг A fwr
successful band ’’Harrv and the .Mule—tukkers fail to touch hi*1 frosty, bottomless soul. The only thing tu ever pique his c newest» a myswri они. hand known as the “Ghost Train chat no one has ever seen play» dudes him forever like a fading mirage. Inrrllpgrtit doalogne and ini apery hdp keep the mono-them inc plot moving, bur don't expect the slow-paced tale of deliberately sdf-drrfruerivt drinking fn the midst of a stagnant tundra society to be Д winner ar parries.
Zombie Apocalypse
lOrigr Сжмебегн» j/d terror). Dir: Rubvn Galindo ft Prod Raul Galindo. Sluryi Ruben Galindo Jr, C*fti Hog«i Stieglitz, Utt Wiht№, Jowe Gomez Parcero, Вшу КоЫен, Erika Ruenfil, Edna Balkan» Maria Rcbcca*Garwrifa1 Mnnzrtti, liduardu Capetillo. Dynamic Fbm^mducciwrm ТЬтгетпеяя [Mek-i«»].
Ar unexpected zombie invasion helps liven up rhe waning [merest of this (гезdmiJI Mcxi-i Lasher, at least briefly. A bunch of partying imbeciles inadvertently raise burly, Satan-worshipping psycho-killer Devlin from the dead by гм di ng dark prayers from an anCienT grimoire. A Dr. Loomis figure {Stieglitz) helps a pack of trick-or-rreat-irtg kids defeat Devlin and the агтПу of undtad who assist him by burning rhe evil come. I he HdWoM^een clone takes die kilkr4 pomi-of-view through lengthy stalking scenes dubbed over with heavy breathing, while rhe panic music is right out of ГrrJjy the Ufh.
The movie picks up For rhe last fifteen minutes, when it switches from s solitary stalker to a коспЫе invasion format- Though thcre\ no explicit connection her ween Devlin and the masses of risen dead^ he SEtiris to be their leader. They are slow and silent» serenely climbing from the smoky ground and grasping ar rhe shrieking children that prance л hour hither and thither. They show no sign of cmution oc thought as tliey crumble around with mottled grey and black faces and sttbiRglirtg tufrs of white hair. Since the zombies draw their power from hell, they can be repelled by the sign of the cross. It's unfortunate that they all burst into flnmcs before they ever actually kill any-ofle—especially [he whiny children v ho have had. it coming for half the movie.
The Zombie Army
Dir: Betty Staplefnid. PmA John КаНжипМ. Serterrplay' Roger Scearcr. Cart; Eileen Saddow, fohn Kalinowski, Staven Roberts. Jodv Amato* Patrick
ci
/й'лЬге iffutidihu/Jj 201
Houtman, Steve МсСошмИ. Ciodic Acket^ Kmi Fokk. Cheap*hu< Productions. 1921.
One of the few zombie movies directed by .1 woman, this shoddy backyard gurefest was doubtlessly more fun to make rli.in it is to watch. rhe U.S, Army biuys the building that was formerly rhe Oak \ tiley Insane Asylum, where psychotic murderers were subjected to unorthodox treatment, Iwo .inmates accidentally left behind, Locked in the ba »cm.’nt, arc set free when fresh recruits move in, and rhr pair begin slaughtering rhe Gk and bringing them back to life with high-powered dfcrro-convulsive ‘rher^pv/ Psychopathic Jim, with his white (but ever reddening] doctor^ ousts carefully records ц[1 the kills on a clipboard. 1 hough the pore eitrco are vibrant and colorful the movie wilts from home-movie production values and Nebraska .flat acting;, it’s at least relieving, that the movie makers relish rhe h ammine» of their own creations Cheapshot Production* originally offered a Jeep-giveaway contest for correctly guessing the number of continuity flaivs m the movie.
The script is miserly wiih explanations, starring with why the res" urnected dead would follow hm as their leader instead of just eaiing him, Lt seems improbably convenient, furtlicnnorc, that the burning ertects of the electroshocks make rhe revived soldiers look just like convent loiulI screen zombira-h Wearing rhtir combat fatigues, the zombie Gk groan loudly and go in search of flesh. There art prolonged scenes of ur sc rung intLhtmc banqueting.; one zombie picks nut a victim^. eyes and daintily pops them like martini dives, [n another scene, a zombie feed 5 on a cadaver's intestines, then when that cadaver is brought to Life, he apologetically coughs ihem back up and helps the original owner stuff them back into his abdominal cavity. It's never explained wliiir the mad doctor hopes to do with his army of “patients/' Though one wjldk-r salutes Jim яг otvc ротг+л great menyopportunnies ro connect zombies volh tilt military mentality, or to connect them with wmc of the other interesting idee* raised early in the film (such as “fixation and regress Lori/ 1* “idiot^savant syndrome arc rntirdy negkKffld'
Zumbie Bloodbath
Oir. Tndd Sheets. IVwhlMd Sheets. Stary»Todd Shecis. Jerry Angell. Smw-playi Todd Sheets Кокег Williams. ОнГ; Gbrtf Harris. Auggi Al rare*, frank bunlay, Jerry Angell, Gdrivy Mow CherylMatb T.G. Warkinv. Kasey Rausch. Tfusliej-lk Productions. 1УУЗ.
202	Л
Though mildly less awful than Sheets’ incoherent Zomfrtf Kam-pjj?i?+ this Midwest kindead saga tin reflectively tries to keep rhe late '70в-елг.1у 80s zombie шшгоа plot on life support, wounding it further with home movie pfoduction v a. I Lies- Radiation from an under-1 ground nuclear facility built on a cursed Native American burial ground sparks off a cannibal zombie cpickmic in the south ^ide of Kansas City. A group of oafish suburbanites infiltrate rhe zombi r-infested compound and blow up the facility,. but the contagion, has already spread uncontrollably. Though society is allegedly crumbling,, the l<jw“biidger upus never once shows any police пг National Guard activity» 1 he violence is minimal, hut Sheets’ gore is characteristically intense and disgusting even fur zombie movies. 1 here are several irreverent church scenes and. a nun and priest zombie, but the closing credits still give special thanks to “God for helping us when we needed him- ’
The gimpy zombies stumble around tn lousy make-up Ш prey on hdd actors (watch for the occasional glance at the cameralu ] hey crowd around rhe humans in large, densely packed groups» but all they usually do is paw ar them halfheartedly so that the protagonists can break through. The Feeble ghouls are easily conquered in hand-to-hand combat, going down from just а ыискег punch or karate kick. In fact, these zombies arc so ineffectual that half the characters wind up having to shoot themselves. to get LilltHi off. The credits ch im there were a total of 735 zombies^ hut it seemed to me that wc keep see* Eng the same few over and over again.
Zombie Bloodbath II: Rage of the Undead
Djt: Todd S-hvcM.	TmJlI ShtrES. ^cFL^.ffp/dy: Tndd Sheers, Dwcn
Cj_j. Djve Miller, КлЫггл MtSwrenty, Gena Fincher, Nick Stud dec. Jody Rovkk, becky Stoddm, Bebecca Byron Nicodemus, Harry Row, Jerry AnpcIL TraytiruiH Pnidiicrirans, 1^V4.
Unstoppable lodd Sheets, rhe Ed Wood of Tornado Alley, treats us to yet .mother small scale, direct1 to-video, home movie apocalypse. Donna (McSwceney) and a handful of her friends find th cm selves trapped bt escaped convicts as well a*, the usuj.1 undead ghouls; they flee to a deli while zombies overrun civilization.. Sonic ▼ ideograph rd zombie invasions are at least conceptually creative (Tbi* Dedd Wjti Doc/г, Sbiitter Dead\t hut Sheets is happy just io present zombies gsimg jround eating people for яп hour and a half ar a rime. Zomfzfe
__________________________________________________Cop 205
filled bath li also offers bonus human depra^ ity, and the character dynamics present a virtual pageant of cruelty 3rd ugiincst. The dialogue чрдгМсь with crisp philosophical in s ightj “If 1 wa$ boss, you’d follow гГьеЛ
Sheets’ flannel-clad, Great plains undead lumber around with cold cream all over rheir laces, seeking rhe flesh of rhe h vng and all that. They swat limply as characters run by them rind are unable to break through a glass window. They don*t really do anything inter-citing, bur Donna manages to deiinimare :i pack of them by sprin kling them with fest tubes of Iksh-ratmg bacteria, which she happens to stumble across in an abandoned pickup truck, A preachy Сёкг зг the end rather randomly implies that the movie is really abuut nuclear accidents an J sararuc cult scriviry, and telk u$ once igam rhat rhe zombies are ua.
XoMibif (^biid see rbc Cbr/d
Zombie Cop
Din J.R. Hookwaker, Jfrvdh Scon P- Plummer, J.R. Boukwalrer. Screenplay. Matrhpw l-isan Walsh. Sfury: J.R. 1%юкwiltvr. Gjjr.fi Michael Kemper. Krn Urasij J jcnEii R. Black Jr-, Rill Mtiurison. The Suburban Tempt Company, 1991, This hour-long amateur action feature in about an hour longer than it needs io be. Police officer Robert GUI iKempcr] and evil voodoo priest Dr. Death (Black I kill each other, bur both return boa the -rave rlnuugh Deaths sorcery. Death runi off to pursue some obscure master plan, while Gill joins forces with hi5 former partner Stevens (JtrtMt) to Stop him. Gill and Death, each impervious to nor-ma I a tracks, smash and shooc a wav at each Other interminably; culminating in the world’s slowest car chase. At last defeating his nemesis, Gill remsinv a superhero vigilante cep to protect the community. Filmed in “Tempe-vision,” which looks suspiciously like home camcorder videography, the movie mainly consist* of people running around depressing suburban Ohio locations, interspersed with painfully cliched dialogue.
Upon first crawling from the grave, Iiill i$ only slightly zombie-like in appearance—a little scruffy and pak, but not too decayed yet. Вш since he immediately wrapt bandages around his whole head and leaves them on lor the itst of the movie, he comes across more ike Mummy Сори Gill conforms Ю expected zombk behavior in no way, and the zombie cop is a bust.
204 ZofflW*!' Higb
Zombie Creeping Flesh sou Night of the Zombies
Zombie Flesh Eaten see 2сня£йе
Zombie High
Ron Link. Prod': Aziz Ghazal, Mare foheroft'. Screenplay- Inn Doyle, A.iii Ghjrak Eliuibfib NmfvUL Gisf: Virginia Mad&en, Richard Ccк, Kay Kilter. Jjinci Wilder, ShcrilynLi Fcaitl, Р*Ы Feig, T SiCDtV Coffey, Priest Hill PifjJuCUcnb, 1987.
Actually frt uoca hiph school, hut a. swanky prep school m which the students are all mindless robot drnnes» Incoming student Andrea (Madsen) is increasingly distressed by the hymartess student body of snooty Ettinger Academy, until чЬс ат List discovers that rhe facility jre vampires who learned ihe secret of mini totality from з Nativt American medicine mana century ago, and have been turning rhe Student body into zombies and using their blood and cerebral fluids to stay alive ever since. With suit, tie, and tirelesi» study habits, rhe model pupds present a iKWC-too-subtte Satire on yuppie overachievcrs. A discontented biology professor (Cos) help^ Andrea and her boyfriend Ba rry (Wilder) overcome funner Indian scalper Bemirigard (К liter The movie phys the concept more seriously than the title lets on, and, in fact, winds up dragging quite a hie. There’s a brusquely abrupt cur technique that helps keep you awake bur gives you a headache ar rhe same time. The only memorable scene is the Homecoming dance: dozens of lobotomized yuppie couples dance iu perfect sync, in an uninspired back and forth slow-Btep that doesn't change even when the rhythm of the music docs.
The students aren’r dead, just mind-washed fodder for the blood-and brain-sucking faculty. Though their intellectual .facilities m^edl to be in order, rhe emotional capacity is uirerK eliminated. I hey only speak when absolutely necessary to maintain .1 public from, and even their facial expressions seem forced. Though they have no souls, rhe akirtiui ut Ettinger go on to become successful executives and politicians (maybe, because chey have no souls)- The Students on campus are controlled Through cry sea I implants :m threr bruins th it respond to special sound waves broadcast all across the school Р.Л.; Ваггу and Andrea kill them all by replacing the casseire with я heavy metal tape..
Ahern а те tit le: The School That Ate Л4у Впггя.,
Zortt/jif	2.D5
Zombie Holocaust
Dan Gary Whitson, Scrcffipljy', W. (Hillf Baylis. Gryr Pamela Sutch, Tina Krtiurtr, Laura Gigljr>b Sal Lnngc, Aven Warren, Kuhy Sltel, Sidney Wifit, Djvibi Murphy. W,APV.E, Pfudueriofl», 199’5.
Ser in the year 200&, this abysmal Public Access science-fiction fiasco from hcnitTHuyic? gore factory W.A.V.T. Producricms opens on а post-apocalyptic world in which a meteor shower has killed ninety percent of the population bur the water and electrictry still seem ro be running fine). A psychotic, man-hating shc-tyrant called ‘"The Doctor” rules rhe local comm unity with an iron fist from het force field—protected coffipoiind with ли arniy of women. She keeps the male population at bay with a chemical that has turned them into cannibals- if rhe у don’t do what she says, she refuses them rhe periodic inoculations that keep them from deteriorating into mindless, raving monsters. Dissidents Karen (Giglio) and Tracy (Krause) ream up with two rcbellioiiS men ro break ihe Doctor's reign of terror. The movie plays like an adolescent male fantasy, complete with mud wrestling, slap fighenig, a dominatrix scene, л nd Lontinuuui glimpses dfwnmet»+E underwear beneath their short tunics. In fact, the film centers conspicuously around pruhingeJ scenes uf women in postures rtf subjection and victimization. The misogyny might be more offensive if the acting and staging were more convincing^ bur embarrassing production values and an inability to generate audience sympathy for any character help deflect Attention from rhe questionable ideology. There's a lor of talk about mercenary soldiers, force fields, perime-tcrs„ counter-rebel I ions, and apocalyptic desolation, bur really it just looks like a handful of people standing around talking and wrestling in the woods.
The ’’zombies’’ promised by the exploit a nun title arc never deliv-«red—rhere's only the threat that if rhe men under the Doctor's control don’t get their regular shots, they will turn into savage creirurrs. Rather disappointingly, none of them miss their regular shoes. But even with [heir shuts rhe men need ru eat human flesh. In the pre-credit sequence» they bleed cadavers and hang them up in j smoke house, then cuuk ihiiTi on a microwave hcd. Theres also rt lengthy scene of a woman "roasting’* oa a spit over a sorry fire that’s obviously nnt even large enough ru keep her warm. One guy in a tlanncl shirr and had mask show*, up out of nowhere to hang out with the other characters briefly; 1 hope hehs not jiuppnsed to Ise the zombie,
2(fo Atfubm Jjbtitd
because if 50T that's really pathetic. Since zombies are surely rhe least demanding ।-»f screen mtWri in terms of acting and. make-up effects, it's pretty bJd that this film crew couldn't be bothered to write them into their otherwise атЫшнн hZombie Holocaust.
Zombie Horror sec Вягтд/ Ground
Zombie Inferno see Aj^Jv of rhe Zombies
Zombie Island Massacre
Din |nhnN. Carttr Pro^; David Bruadnas Utreenpkiy; ’iffilliam Stoddard, Lo^an O’Neill- ifury: David Rrnadn-as, Lrigan O'Mritl. Ces/: David Htrwd-n*X Rita Jenretlc* Turn Camrell, Diane Cl дуге Holub, Llrt McMillian, George Peiro, Dennis STtphcnsifin, Trevor Reid. Picnic Preduetions, 1904.
In thin run-of-the-mill elimination stalker a budoad of idiot tourists led by chipper guide Reginald Jones Stephenson) find themselves stranded on the remote Caribbean island of St. Marie, after witnessing в znm hie -raising voodoo rirual as part of the tour package* Though convinced rhe ritual was staged., Paul (Broadnax), Sandy Ijcn-rette), and the other dull-witted, fun-seekers now find rhe bus dis^ ab.kdt and begin to turn up murdered. one after the uthre It turns out char hit men sent by Colombian drng-runnerfr are posing as cannibals to frighten rhe party off; obviously the beat way iu avoid attracting rhe attention of aurhortties is to kill ofr a score of well-to-do American bolidaycc*. Though upscale for a Tro ma releaie, this is still unbearably tedious an J awful, to Lt avoided by any expedient,
While being stalked, the characters refer tn their unknown assailant half-jokingly as “the zombie.’* Though that's not what's after them, rhe zurnhie raised in rhe ini ria I voodoo ceremony does seem to be genuine (its fingernails grow half an inch instantaneously].. Or ar least, if it is only played by an actor then it's crummy work, because the gig involves getting hacked in the head v. i th a machete only seconds after being reanimated. Before being «mt back to ohliv-ion, though, the zu-itibic Mti submissively with head lowered, exuding a hint air of wisrhilne^ and sorrow, Fhere's no further hint of genuine zombies or snpernaiural activity in the movie, but the statue’ like zombie is eerie and engrossing for all the forty seconds he graces the mediocre movie with his presence.
Zoriibte jrn KumwrfwsjuiTd see Zombie arid tire Gbost Truitt
__________________________ ZomiSir lakf 207
Zombie Lake
(Orifi. Lr- fjr dt'5 fflort! > u. jfi fjJ. Dr-i jean Rail in. J’rtjd; DanirE Lt-ioeur. iiory: Julian 1 5i<?bjn.	A.L. Mariiux, Cdiit; Huwird Vernon,
Pierre Esduutfsmj., Annuchka, Robert Fosrcr. Nadin-e Pascale, Gilda Arancio. Eurocine/j'.F. Filmii I France, Spain!, РЙ0.
Rollin plays hit bare-bancs aoenbie taie os nostalgic love story, resulting in a mediocre horror piece bur э hiring parody of sentimental movies. A small French town tlui slaughtered a platoon of Nazis and dumped their bodies in a lake during the occupation is ch a grin id to find rhe daunrlesa Teutons continuing their depredations, a dozen years later. Though the aquatic Aryans receive <i steady diet nF female swimmers in the lake, they grew increasingly restless and now make forays into rhe town itself to procure fresh blood. One rombie pays social c dis on his daughter, who was bom iust before he died and who doesn't serm too put oh by his rotting flesh or murderous blood-sucking activities. The town mayor (Wmonl convinces rhe girl to lure daddy and the other fiends nitu a null, however; where they "re all sprayed with ndpfllm. the opening scene is a hilarious spoof cl with an underwater Nazi zombie substituting for the shark, but after that the only entertainment is the arresting rural French кепегу, when it isn’t blocked by the obtrusive characters. Rollin larer ^aid that he only read the stripe for the movie on the way to the shoot, and that he had no Siitid idea what it was a. hour until half way through the filmiiig-
As in SJjwk №nw, the undtzid reside on the bottom of ihe pond (though these Nazi zombies are exclusively fresh*water), lurking amidst the weeds and lily pads to grab imprudent bathers from below. On dry Ijjid tbey’rc much stiffer, slowly shuffling up to actors who don’t make very inspired attempts to get away. The unconvincing make-up effects are laughable with pink skin showing a round rhsJ outlines of the face paint}, and under water it even starts to peel oft. Amonn their super-.natural powers can be counted wcll-toifed hair despite a decade of living as zombies m я lake, and rhe ability to dry off with remarkable speed. Though lunes press] re and inariicttlare, t he undead Nazis arc clearly sentient and emotional: one zombie Sour-pus$ thtows a temper tanrruiti, tipping over tables and smashing things. But they ha ve a soft side too, as when Helena^ father holds her hand while rhe two walk along touchingly, acid when he wrestles another zombie m protect hen Two zombies wrestling: now there’s hrart-stoppiag action.
JOS iZrwfrF* Nigbtnttirie	____________ *________
Alternate ritk*: Ef Jjjjd J₽ /os niaerfos wiaitef, I be Lake rtf the J juu^ Deatf, ZwwbiM bita*
Zombie Nightmare
Dir. Jack Ihravrniii. ProJ: Pierre CrisA XcraeMp/djr David Wcllingtun.. Qrst: Цшшй RigaudL Adam West* Jan Mikl Thor Via Сэггсге* Shawn Levy, Frink Dseti, Allan Fisher, Hamish McFwcn, M.nnon Tur bide, Francesca Iki п дсиги „ John F^Mtno. Gold-Gtma LimiteJ/New Vitwld (CanaJ-n, 198 .
This painful and toilsome Jeatuic with wood) Adam West (Ba.t-F?r«wi as .1 [huft-Hjrned-police ciphiin is indeed, ач rhe rirfc promises, a nightmare. Ape-like Tony (Thoc) iicwt dawn Jr his prime, ram over hy a carload of drunken tetUS- His mother Louise tBouacorsal seeks she help fjf qu: very-voiced voodoo priestess Molly (RigauJ.) in rc$o?" retting him as a monstrous undead avenger, who then picb the teens off one by one. Meanwhile* police captain Churchman (West) is drawn increasingly into the puzzle, as dark crimes from his own past bi^m to resurface. The-voodoo elements are ch Mil) racked cuiro a Bmn-scm-esque cl hi ii nation revenge format* garnished with slipshod continuity and reeth-grsiring aenng. Depress пр themes of violence and wasted VQtithdLt compounded rather than relieved hy the ugly avengingтппл hie and i h« a loot-priestess who controls him.
Molly explains that she can't bring Tony fully back ro life* but can only "hold. him on rhis plane until his death has been avenged/' When he first rises from the coffin he howls like a wolf-man* and then grow Is like Lou Ftrrigno from Tt^e incredible Hulk for the rest of the movie. He kills by snapping necks nr wh acking people with the base-I41II Ьаь he carries around with him, and tbee each night he returns m rhe makeshift coffin Molly Ьач ser up ror him m her hack yard. Zombies apparently якмс their energy* after avenging themselves^ so after slaughter i ng the last of Jus own killers, Tony геггеап Ю Ьй Рег-nancnt grave in the cemetery. In the closing rtvo minute^ j second zombie emerges* lony s long dead rm her, ю deag I hurdunan down 10 hell (whar Wepr wouldn't give for his utility belt there, no doubt). I his second zombie even pronounce^ Churchman's name, thus exhibiting more sentience 1 nd persona I it} in thirty seconds than Tony does the entire njovie,
Zowtbie №asJ*i see Hesbeati'r
Zombie о/ the Мгмлвд see и/ thv. /jimbtei
ZcrHibiF Terror
Zombie Rampage
Din Todd Shcm. Pmrfc 1 rauis СэгггГГ St'rernplciy; Tndd Sheer*, “Prin Kehr. Jjory; Rivge г Vllliamc. C«K- Oave Byerly, Erin Kehr, Stanna Bippils, Bech K-ia iiEIl Trustinus ftrodoeriems,
Quirky one-man zombie movie factory Todd Sheets unleashes the 11гче of hit backyard zombie irrvasions filmed, locally in Kansas t iry, Missouri, The story Line hasn’t come out of rhe editing ruoni with much semblance of coherence* hue the gwt seems co lx: as follows: acerbic gang leader Tommy (Byerly) tries ra raise sonic recently deceased gang members, from the dead with rhe aid! of a cheap paperback on vood-M (but in fact* zombies start to appear before rhe rire is even conducted). Faced with an invasion of cannibal ghouls* he teams np with Dave (Kehr) and several nthers to hide from the ечея-laving undead menace. Hiere is much wearisome in-hghtiEig, broken periodically by random sequences of zcjmhtrs marsiud-ingin the streets. Vid co filmography gives a new meaning co “low budget" and while icRgood ro &upport local filmmaking as an ilternative tosnidto induser у production^ Zombie Ruirtpijge suffers from Scorch Tape editing, inconsistent lighting, bad sou nd * and some of the worst fofey work outside of Public Access Sheets thanks Jesus Christ m the closing credits, but surely He could have come up with better lighting and stronger continuity.
The uninspired make-up offers a hodgepodge of zombie type?T but these ant c^srntijllp the flesh-eanisg gh oak familiar from and Day. occasionally featuring rivulets of enigmatic fluids forid drips, with л fluorescent green noxe). The undead limp along stiff‘1 imbed and contorted! bidftrijng тгогл an epidemic of apoplectic oVEF-aclitlgr They crowd around their victims pind tear them 1 pn.tr animali^t^aily» ncvclmg in squishy organs and entrails with delight. A TromiHiuptred scene shows rhe zombies, devouring я h.tby in its scroller as tt stopping at л hotdog si and s Lu Lon tht whole these ghouls are Peiihcr scary nor fufltiy, whichever they're crying to be
Zowbfo Kf’tvi.ijh- Master sec Zombie i^s.
Zombie Terror
(tpi.'iflde, AirFtfiir t>fthrbingli.'. Jjj>; SpclKer Bennet. fru-J. Rudolph Flrichpw. Stnry Teh’piiiyt Robert PFtr, QrjJ: Jon Hall, Ray Мвы<Р®еГХ Kljrt Katdljn Gilbert, Nack SFtwartJl.nuis Rmwn. Мест Buchanan. Arrow Pro-dutrions, 1952™
21П	it. Сйв
Rjwtfr Jjang/f was a second-rate IV jungle adventure series about intrepid Tom Reynolds (Hall, known to the natives as “lb mar’к his assistant Howard Ogden (Montgomery}, and their black servant Willie (Stcwartf. With pith helmet and riflt+ the two whites trek through starchy jungle sets to confront hostile tribes, stuffed beasts, wildlife footage, women in. leopard skin, arid other rrtipical menaces. In this episode, our heroes bring tn justice mad De Rennet I Kate h), whose thought transference experiments gave him th г power to control people telepathically. 1Л all feverishly dull, and it's not really clear whir any of these people are supposed to he doing in Africa anyway
The zombies aren’t dead, hut only mind-washed.. Rennet zornb-ifies subjects with the help of a ray emitter and a few tables ofsopbifr-ticaned electronic apparatus, all of which he has improbably set up in his lent In the middle of the jungle. Ogden is temporarily subjected to rhe zombi hear ion effects, but recovers since his Exposure to the ray was nut at full dosage, On the other hand, a zomhified African who suffers complete brain damage and becomes a blithering к ilk г is possible the first 1V iambic.
Zombie Mardi Gras
Dir? Mike Lyddon, Will Frank* Karl l>eMaky. JWs Mikr l.yddkm, Will Frank, Knfl DiMnJay, -ScfseMpfiiY Mike Lyddort, Will Frank, Karl DeMn-lay. Cash Dale AihmiUa. Ldtreli Faller John Sinclair, Jeanette Haustc, V*fcmi ica Russell, Сагпата к Productions, l?9S.
J suppose it was (inly a muter of time before someone djd a postmodern Arr Zombie movie, bur this seems to have been In tile more than in excuse for .1 hunch of film school students tn hit New Orleans. Ihe "filmmakers" of this black-and-white q ua si-doc u-mentary go around Bourbon Street я nd vicinity Crying tn purchase marijuana, while a ratty zombie hum (а с годе between HarpoMarx and Rob Dylan) goes around caring peoples as the rille implies, the zombie holds a £fudge against the entire festival of Mardi Gras. In purgatory, meanwhile, ihe Renaissance astrologer Galileo is r&sur rcctcd and sent to birth tu stop ihe zombie. He makes .1 couple of halfhearted attempt's bur mostly just sits around smoking fags л nd musing abour ihe spacetime continuum instead, It's all relatively painful
Zombies of Mora-Таш 211
Zombie vs. Ninja
Din Godfrey I lc? ^as Charles I .pc). Prur/: Joseph Laif Berry Chati, Strvvnp Liy, Benny На, Pierre Kiir by* Edowu Rrtsmca, Dewey Doimvrl h, Thoma* HinJiam. Lit) I'-ibn* Arl> Limited |0 long KrnjgX I9SU..
An undertakers apprentice wishing (a avenge his father's death I earns bung fu from his hink-toothed master. The undertaker prn-tidicallv casts syrlk tn reanimate the cadavers that trail about the shop tor spurring purposes. The corpses generally wear bright colors* and three of them are decked out m imperial regalia. They all right with quick* jerky motions, like sperded-up clockwork dolls. “I hey return to their coffins or simply disappear into thin .nr .it sunrise. Though the comical undertaker is good for some tnttr la unrig moments, the continuous fighting is monotonous even tor л martial arts movie.
Alternate title: Zombie Ret, rr uf.- Af+JiJer.
Zombies sec Duw « of the Dead
/.ambits sec / Eat four
The Zombies see fbe Plague of the Zombies
Zombies Lake see /.ambit take
Zombies nf Mora-Tau
Din Edward Cahn. frot/: Sam Katzman. Snreeaplay. Raymond T. Mmiu* Bernard Gordon. Логу? George Plympton. CdJf-, Gregg Palmer, Allison H.iycs, Autumn RuweH, Jrwl Ashley, Morris Antrum. Marjorie Eaton, Gene Ruth* Leonard G«r* Karl Davirt, ‘William Baskin. Cdumbii Pictures, 1^7.
This awkward and talentless movie is nonetheless surprisingly prescient in zombie film history, anti tips ring □ number of motifs [hat would reappear in later decades. Trying ro steal a golden Jul from Africa in IE94. л crew of ten European sailors were turned into zombies by local natives* and have been guarding some diamonds in a Submerged shipwreck ever since George Harrison* his wife Mona (Allison Hayes, the original fifty-foot woman], and sums others io search of the sunken treasure are wekomed by doom saying Mra.. Peters, who has already taken the liberty of having graves dug far them. They all fight amongst themselves as well as against the zombie*. until Mr*. Peters ends the curse by scattering the diamonds back overboard. The funniest scene U that in which fragile old Mrs. Peters
2 12.	of	J  I liH	____________
iltjkcs her cant- indiguan(ly ar a rombie as he passes by her indificr^mJy'. Most ironic line in the movie, and perhaps in all of zombie film: “It happenLd so fast.”
The zombies basically look I eke normal people—Mr*. Peters notes that her husband looks no different row [han he did Sixty years ago, “except for the eyes’ (he has a glassy sure). They are frumpy, mid-dk-ued men with pnr-bcIlie$ and pattern balding, dressed like dock-workers and sailors. Tbcy never close their tyest and have no blood circuliuon or body functions. During тпе d jy, they mostly lie tn coffins in a special crypt, or walk around rhe ovcju floor ithe underwater scenes were actually filmed on a studio sei, wuh cardboard seaweed). Sixty years of amphibious wear has been remarkably kind tn their clothes; rhe cap tain's suit looks hke it |uu came off the гаек, They arc extremely slow, and dugs bark at them as they silently husj themselves with rhcir ungodly tasks, the odd strand of seaweed neatly draped over their shoulder*. Stiff and Mihd, they are immune co scabbing, shooting,, and basically everything емррртЛге. I ha t's why they’re afraid of it, Mrs. Peters explains; ic*s the one thing rhat can desrroy them. Even flares drive them back, and ar one point, tbe characters confine zombie Mona ro her room by surrounding her bed with candles.
The zombie ’sailors, of course,, have no free will, and no vestige nf humanity or emotion (though at one pujnt [hfry’re >aij to “cxiht in [onnenCK. They are simply the pawns of some annqdiied voodoo curse, whose practitioners are long dead. Ir1* refreshing to see a *SOs movie trace vOcdoo back to its African origins, but then again the casE t* all white, including the servants, and no native culture if voodoo or orherwLie) enters rhe stoq line at all other thin through vague references. At least we aren't subfecred ш lengthy rirts of drumming and dancing, as in most jungk/voodoo movies of the period. Judged on its own merits, Мснд-Tlw is ungainly and vacuous, hut its enduring influence on the genre is curious: this is the first riiiti in winch rhe zombies dearly exist without з voodoo master nr leader controll ing them, л nd the first ni which the zombie LTinditinn it -contagious. It\	the
first to claim, that zombies are afraid of fire (as they arc later in Night, far Instance). Most outrageous of all, huwttet is the whole idea u.F i he under water zombie, a random and incongruous notion to start with, but one that would resurface as a nocible sub'genre in the Late '70s and early 'titk.
Alternan'1 tide; T/?e That Udr/k
Zombies on Hmaduray 211
Zombies ufSufair Hilt see Sugar J-Wf
Zombies of the Stratosphere
Dwt Fred С. Brannon. ScTL^npliiyz Ran j Id DavidMin. Cdtfh Judd Holdren , Aline Towne, Wjlsan Wood, Line Bradford* Stanley Waxman, l.eanard Nimoy. RepublK,
Republic fishes mu ihe old CominanduCody flying jer-pack from the prop room yer again to provide the main Hpqcial effect for л twelve* part art ion-ad venture serial Martians plot to blow the earth our into deep space, so thar rhey can move their own planei mro our orbit through controlled Ti-bomb explosions and thus enjoy our more favorable dirr i,w. 1 hey can do all that, but they can't nurwir du II gov-mitnent agency Larry and Bob, who foil alien leader Ma rex again acid again зд he attempts ю obtain uranium and construcr a bomb an his secluded cave. Tht sole sun iving Martian, wounded Narab ^Leonard Nininy}, treacherously helps our heroes defuse the bomb and save the earth. Expect lengthy and frequent chases in which no one is. ever caught and shuot-outs m which so one ft ever hir. I he science-fiction elements д гс thint mostly conshtiitg of the jet pack, some spark propelled spaceships without landing gear, and an absurd robot. Have a hook of crossword puzzles and mayhc some aspirin cm hand. । he Twelve original episodes, each with a recap ^ciitcmriir at the beginning and a cl iff- hanger ending, were condensed into a movie-length version in 14*57 released as SrtdJirt &itelliies.
Though called "zombies" m the main title, an episode title, and a recap blurb* and though one of the protagonists calls them “zum-hues” in the closing minutes of the last episode, the unconvincing Martians arc simply people in. tight, glittery body suits with cheesy zig-zag lighmin p holt designs. Г hex arc fully rational, speaking without even a trace of a Martian artent, I hey ire, however, able to remain under water or in toxic gas for up to half an hour, since they're necnstomed to the о xyge л-рею г tmotphere of Mnrs and since it cforsnTt cost anything to depict In any case they're hirdly “zombieV and for that maner They're пш especially from rhe ^ratohpfcere, either.
Alternate ritk-; Wj/i's SiAiclkfes,
Zombies on Broadu ay
Dir. Gordlun DuugMi. Frod: Ben SbdIcIF.	Liwth1« Kimble,
Robert Faber, Charles Newman. GWH WkIJy Brown, Alan Curney, Brh
114	oh iBniodWy
LAMES СМ/A ZOMB/E ftty-
Ж
CAf»& U&
i ЗОДРИГАт
' .- MNE JfFlflirS- SHEllM lEUNlHt Fflffr jt№
The wu-td “zombie wwn surpassed ihr creatuTf ittdf for Tnarkei. value; rtsi ihcr nl th г.- zombies from the fl Jt com rd) ZvipAiea Bi'tiJt/u'+ry (19451 are portrayed or even billed in ibis- festiw Ullr tJild,
Lugosi, An nr Jeffreys, Sheldon Ijstmard» Frank Jenks», Kussgll Нортон, Joseph Virjlc, Darhy Jtjnes. H.KO Radio Г kt n res. 1945.
1л the tradition of The Gbosf Br?ijJfce«t nutty Jerry and Mike Brown and Carney, К КОЧ л г tern pt to mimic Universal's x^bhot and Gastello] go up against ficriously played villains and monsters. As press agents for ex-gangsrer Ace- Miller (Leonard), rhe pair have promised to pm ide nn authetiricr zombie fur the opening mg hr at Miller's new night club “The Zombie Hut/* They had hoped ш make da with a paid acton bur Millen unimpressed and dogged by йп швд* pnistic juurnilist, charges them with finding .a real one or gening bumped off, see? I hey cravd to San Sebastian in the Virgin Islands» where they team up with singer JCjn (Jeffreys) to foil mud 'scientist Paul Renault (Lugosi)» who is attempting to recreate the native zombification rite entirely with chemicals. xMikt briefly becomes a xombic through Renault's scrum., and then at the end, so does Ace M11 Ilt himself—whn thus unwittingly appears jh the spectacle at his
Zoffdtft/юм 215
own nightclub. Brown and Garney aren't funny, and it's sad to see Lugosi outwitted by such л pack of morons.
Though there is one brief scene of a wide-eyed native zombie rising from fus coffin during a voodoo ceremony, rhr zombie regular is "'Colag.i,4 play id by lanky actor Darby Jones, who was also rhe zombie “’CaTTcftnir" m i1 WbflkeJ a Zowr^/e: a thin yer muscular black man with lang arms and kgs and Ping-Pong ball eyes. Renault, whose artificial serum only produces a temporary zombir-like trance, marvels that even after 20 years, there is still no sign of disintegration in undead Colaga. Renault sends him on his diabolical chores, and has him remain in я coffin when nor in use. Ir*s hard to rake Colagn seriously most of the time, what with brown and Carney hamming it up, bur the scene in which he kills Renault is memorable enough. Almost overpowered bj the protagonists, Renault commands Colaga, Ki 1П Kill!7’ Now, either Colaga is very dense, nr else there's some vestige of soul in him encouraging him tri twist the meaning of these instructions, because he only follows the order by killing Renault himself— braining him with a spade. Then, entirely' on his own initiative, he buries his fallen master, and that's the I a st we see of him. Jones has a fascinating physique and remains one of the more powerful screen zombies, bur is ill-at-eaw in ihe midst of these contrived plot twists and stale vaudeville gag*.
Alternate title: LacutriS оя Broadway.
Zo/w&ieZ/jow
JDjf: Ken Dixon. Fiutf: Ken Dixon. Cd£f; К. jaiiyU Caudle, Tracy Burton, Paula Shorten, J&neJk Lewis, Randolph Ruth bling, Chuck Spcte. Taryn Productions/Wiz^rd \ideo, 1^86
Weak and opportunistic, this shameless zombie buffer loosely pistes. together snippets from around half a dozen zombie movies for distribution on the video marker. This is potentially' я good idea, hut remarkably, the scavenging perpetrators of this flimsy ann-homagc have chosen rhe most embarrassing momenra of the least interesting movies.. Dull scenes of massacre and tcplessncss are presented in length у sequences without n i rear ion or con rest, ill framed by custom-shot footage of zombies watching the movies in a theater. There is one good scene in the frame footage, maybe—a brarty little girl in the middle of the undead cinema annoying the zombies around her
116 ZcuflbirJitoH
wwh balloons and ii noise maker. The movies deli ted fin this hybrid monstrosity are Zy^sr^ie. Zornbit Ojjjj of the Z^mbi^s* Fear, 77те /«iijr.Wr A Vjrpm Аиновд the Lfwtjf and T&₽ Asfro-ZitFH&fes.
Appendix A: Movies Listed by Year
1932 Vl 'kite ZrW'je [V. Halperin!
1935 OiiJflgJ (G. TerwilJiggr)
1936 Rrirttt of the Zamhw (V Halperin)
1940 The Ghent Breukers ((j. Mj.r*hjll|
1941	Kwrf nf the Z(jwrftif£ (]□ Yarbrough)
1942 tf-Gwr? Midnight [W. Fux)
1943 / Vt’j/ij f iiritJi a Znmbie Tourneur) of the Ztjmbiti {$. 5ек*4> )
1944	14кь/<ю Мая j V. BeaMtbn-fl
1945 Zombies on BfxjjJmajx (G. lJoup,Lat)
1946 V-f/fri Zr^mhifs (P. botch
1952 Zttw&r« о/ the Stmtmpfjere t h Brannu-n 1 -Zombie Terror’ iSattraf о/ ihe jMlgie, S. B^-nncr)
E 953 Scitrid1 -Srj-f i(G. Marshal) (955 Creartij-ff кигб the Atom Brain (E. Cihrt) 195? Teerraffe ZtsriihlifS  |. ЪаггггИ
Vro^w> h/jrtil (R- I cRothj
VTofrfHTrErflt^г (C. SaunJer*!
ZuKibirt of Могц-Таы [E. Cohn)
1958 rtan Nmr fnifrt Outer Spucr (E. WtKjdl
1959 Ihe hour Skuils of jonathan Drake (E. Cihn) irriadert (E. Cahn)
217
21S App-crl dirt A_______________
1 96(1 The Carte of the DoW frupfo C li. Alazraki} DtXtor Go/fa (5. FurreJ
1961 JHWJSJDrt u/ fbe Zattfhtes [В Л1н?г вк11
1962 "The Incredible Uofcinr Markesan" (Tfe^tfer, IL Morey)
1$6J Tfee Harrut tif Forty Beocb (D. Tcimcj)
МогГ5ГгйЯН' lj- MaKeili)
Wfrro/ the ZombriS |{j, Vaji)
1964 Dr. Ofof* Mosjref J- I мпсо)
Tita Eflrtfr Dies Screernwg fE Fisher) / Ejit Your SJfem ID. Tenney ।
Tta Jjjr/rJifcfy S/rawge1 Crwoturrs Stopped I hdng uwd M<x,^J-L!'|p Zombies (R.D, Src^klyr}
Tta Lail Mjfl ow £jrtt ($.. Salkow)
“Sibaoe iTta Sarut? P. Yaies)
1965 "The Very ImporLlnl Zombie Affair” Tfee Alan /таят U.N.C.i.F^ D. Alexander)
] 966	The Ftsgut of the Z^rf flues (J. Giiling)
Terror Crej/wrti fr^nt ffef Grditf [M Fupillol
1967 Dr. .SjVfi t'J. BfkR'fc Afap? (Я Gcmraiei)
196И Tfee AsfrO’Zrwriferes (T Mikclfl Nwta rjf tbv Lri irig Diaii (G.A, Romero) T&e 5jjjfre feup/e 1J- Ibanez)
1969 Tfee Lffnd1 of the Dead [G- SoJares} Slth?o hSPfJ' Blur Drrofln Agai^it tht1	(G. SolantsJ
1970 The Mummies о/ Gifa^fwnto f F. Gurie I j
19 7 i	tilifctd o[ Gbasity Horror M- Adtioison)
Tbwfa of the SUnd (A. de Ossorio) A Vi^giaj Arwaftg ibr Living Dead (J. Francoil
19'72 tiartm Btuciif |M. Bava)
Chidft'n Shtmldn'i Pkty with Dtad Thngt [B. Clark)
Dead' о/ В Cl.irk)
Cardeo of the Dead 1J. Ha.№)
liurnsF Express (L. Martini
Horror RjrfS from fhr Tomfr < . Aurtd)
|Гмч asii-H nf the Dead lR., Cardona)
Mpiirat of Fed (W. ] luyck)
Rfljirw sj/ fhj ZrjiNjhfffS (J, Merino) ictnfa ttS.	|A_ Crevtnna)
Tflfei /mni the Crypt (E Francis)
VvugcaHie-if tfre ZfimbiL'S |L. khrnnvukv)
19?J Castle af the Mtimwttff of Gnunatuala T. h'ovarn] Г/jf HoMjr cj/" 5г'гг₽т Corpses P HnrnsMi i
The Legttrd af the Seven Golden Vampires (RAV. Baker)
Мдоя /JjW by Ir^ur 2 И
The Night of the Sorterm (A. de Oao-i'iu)
Rt'Jium of ths J'.rrJ r>rj(]’] A., de Оевдпо)
.19 "4 Jibmjf of Zfimfaifi (A, d< Oswiiti)
The House on Shalt ЛЬшлЛлп [R. Hnnrh.incrJ
Lei Sleeping Corpiet Lie IL Grjiol
SAifljjfca fW, Cjhilr l
Sugar Hili if. Ma&lansky)
“ J hr Zombie' iKctlcKtb- The Njj^br □'trn/ier, A. Gragshoff)
1973 Tfcf t fms *if the Devil (J, GilJing)
The /Jrjd D< ur'j Die (( НагггпрМп)
Night tif Seaguth (A. de- Ossortn)
1977	T*₽ CMrf (R. Vtabrtun)
$Й0<1 Ufawi (K. Xtic’drrhtjrn.)
1979	£JdwFf of the Dead (G.A. Romero)
Eroi/f N/gJjjj of the Living Dead (Л. MjitskacLcJi)
The Tog (J. Carpenter]
Tosic Znwn'jiej |t . McCrarin)
Zomftjf (L. Fu.ki|
i960 The Ahen Dtjd [RU. Kay)
Bwrna-J1 Ground I A. ftianvhd
CtFv ft/ the WalkiHg Tfejd (IL l.curi)
Df. BbJt'Jbf’fj MrD. fM- Girglanrii}
Du’ff Go JW J/owm! (J. LlliionJ
Frft?₽w St'ream F. Кг»агЙ)
The Gtitei of Hell (L. F»ilci)
Z&rnhie Ltike (J.. Rulliri
19Й1 The Beyand <L- Fldci
Diijv/i t>f the Мямгрп? [E A grama J jnd Bur it J (G. Shcjmih)
Hartiiffniteuf Island (J. Warren)
G'jjrtrmj 69J ijc R»srdj
Jkdt-y Alrfj/ (G. Put tenon)'
The Houte /я/ iht' Ccwt'frr^ (I- Fuki)
Ntjlj: of the TLambies i B, Manti)
Rriwige о/ rfre Znw^ff 1P. RtganJ
о/ iht< Zntnbiei (H- \1спр.-НпЛ)
Zombie 6j Alofldter //лгмГег L A. Мл^еием)
1987 Crreptbtm' {G.A. Rumi mF
Kung Tu Zotftbie (I f- I lung[
MiJHsmrt of the lunng Dead |j. f'ranto)
QasM njf the Z.nmbtfs Cj. Franco)
One Dark Night (T. Mcl oughlin) So/tf Зп'гь'й/ОГ (T, Eber hardl)
Zmnbie S; Revenge of the Hoм^ tif Dibtf (J. Frant'c»)
220 A ip pert Jit V
19S3 Thrifts (J. Landis} Zerftr (F. Avail)
I f R4	И Jan Js jfdtm /ми G wtcr Spcrre (Gt Cflbu rti)
Hurd Rock Zombies (K. Shah)
i Was a Zwribie far the hB.i. IM. pencznirr) Mutant J Csrdiii)
Zdwj^jp FjiznJ Afawov (] Carter ।
J'?S5 Lkljf of the Dead (G.A- Rumcru) Г*т Akd'wiflfcr Нпяг |J. Bender) Raiders of the ? irtwg ($» Shenman) .Ks-dirtrfttiJtar (S- Gordon)
AftafR of the Living Dead (D. O'Bannun) Kbraiffg (H- Bsrwrxjd)
Zom&M A/i£Hcafyf’HT (Hr Galindo, Jr.)
1986 DtffJt/ty FntmJ (№□ Craven)
Fhr Gore jwtff	( hef from Heil (D. 4wan)
} Was a Т^следг ZrjnjJj rr Lj. \tiehal*kk) Ktf'tn of the Creeps (Г- Dekker) 7"Ae in/jfrjjjjMrj/i 4 A- Mastrcianni) Zonrhifftbrjit (Ku Dsxrwi)
1987 Kiilittg Spree ft. JUffc^ V_ Miranda) Rejneck Zombies iP- Leivnes)
Affirm of ih^ ) г^лд- Dftlid Part H {K. Vi irderhnrn}
Thi Serpent Jud the Rfljwfruif	Ой*сП)
The Vitfeo Dead (K Scott) Zom/jj!? High (R. Link)
ZflFtfci<* Nfjtkttn^ (J. Bravman)
I98H After Death (C. Fragasw)
CMfW	the Rtii& Lights 4 L Johnyrm 1
Dead Heat (M. GoldMan) f khbcrfler (B.. Hinzminj “My Zvmbcc Lever" (Musters, D. Misch) Rjfrfi>rs (С. I attann} tfrisftjnrA (A. Hick ok) Zfwiht ) J . Fnki)
19Я9 liereriy Urik Bodysnatchers (J. Mofitow) The- C.hiiling (D. Nuse, J, Sun sen) Chuppt r Chuks in Zoffibretou a (D. Hopkins) T^e DsJei Nex/ jDwr (J.R Buukwalier) The I)i jd Pit (Ut t.ciinard) F'rcwi the Dead of Night (R Wendkos) Cifl^wg к f>»# {R. R u Tar) HrWjjdJ'tJ (W. Levey)
Detfrf (S.P: SonnoM
) 1Л7МД Qwijf/ey's Horror Work-Out (H. Kennedy I
Mtnwi 1 rsfeJ fey Уйаг 221
МигШсг ihgh |R. J’utJ
МдеЙ Life J>. Acocnba)
Pct SejwaJjjry (M. I дтлЬсгт]
F7'c I'ferfTJnf {B. Rkv and J. 1 twig) hjtjJuu JJjji .4 (.S. l-icrber^} Zumfrfe rs, NjhM (Gl Hoi
1990 Tfer iJo*rsQ'drJ [J. Cn mmimf
Njgfei nf ffetf Srftzrf (K.. O'Hrten) Nj^fef о/ rfetf Living Dead 11. Savlni Ztwtfrie Wj Extrrme Pesrrf₽Hr<e (A, Schnsa&i
159 I Brule iff Яe-AJfintЛиг (E. Yuuia)
Drtnonj J (U. Lenzi) htafeewodtf <Г>. Schmnelkr) NiiJirt CiJoff,' of гЬг Dead iM Pirnjj Тргим^Т Могучи «г.Л. ^ ildinjiL) W^urtMurfc /к Los/ rn Ttrrie (A. Hidkt*«] fffli/ f/w С1^СЧГ Ffjj« ^hl. Kaurinmakij
Tfec1 Zoffi/jw Аг?ну Jk Sfapkiord)
ZornfeZs Cup (J ft- Воснк waiter)
Zt>Hifej₽ Кдлррадег 1T. 5h.«u]
14*?2 fJrj^ aJmv rP. Jicktnii)
“Hi a I *Z1 for Zombies* (Tfef Sr«j^sa?Pib B. Onkky, J. Wftiifl >UFi n, iX McGrath)
LdtTjrjf DtuJ Uf Jbkyn &ry  К - Калили] TJw L*wf tingade (Ck HickcfikjtSj^rj
Ni^fef tjflhc Day )/ tht PrfW«r of tire Sow of the Britfff uf iht RftWHI ffet Л^г^м^чг tif the Terror uf rhe ATi^h nf the Ewrl AFsr/лнт Hl'U-hnurfd	LtvmR D^dd, Pdrt H <L, Mason)
|493 If у Rayfru'nd'i Back (P. ftiliihjtn)
Rffj/rrr о/ the I ttiirg Dead farl l!f 1R. >o/hj) ЧЬлпет Dead fs. .Vkcrael л lif'THre'S il (R khnrj
ZnmJfrr/ Pfejo^furf^ |T Shri?ecs}
1994 The Cemetery :VFjfi (M. Soavi) Shriirtkf/t Headf >H. Е1Ётап) Zttftihte 8f>afhihath /J: Rflgf p/ the (Jfidead (T- Sheets
1995 I fl C .TM.r	<K- Hu|;hesf
Vocwfofl (R Ef-йгп)
Ztimhtf1 fioiocawst (G, Whiresnl
]996 hrJn.Lj л Zn»r/?re Orffflm 11 - Reynold и
/tittihir rrs. Mrrrjp Од* (M 1 yddufl, 1-галк, К. 1кМ<*1ау
1997 “JJiiik Eye" (5b«fi f'trri. Г. РдгкеЕ^ M. Stone)
J99a f, Ztanbie (A. Parkinson)
Л*дю&у-Ргм> uri Zombie Istdiiit (J. Scenwtrum)
Appendix В: Foreign Movies by Country
Canada
Г>г*л/ NigJ?! (Й. Clark, 1.972}
Нлзгу Meint <G. Fotterton, 19ЫЕ
Zowfoe NifA t«jjff (J, Bravman, 1987)
Egypt
Шггл of the Mummy lE Agrama, 15SI; L'.SM Italy co-prodj
England
Doctor WMn4r* Cci^ki (S, Fm. i960)
Thr Ejf/Jj Dffi Shtcj?лjft^ -T. Fishes 1964 J
Hoft&f Expresj Hi- M$rtiHT 3972; Spain co-pmd,)
f, jLtjpilfse (A. Parkinsoni L99S
The cflbeSeiftts GnWrw V^wp/rr’s iR. fealen 1973i H*mg Kong co-prod.)
TA?	JJwmfiwj: (J, Gill mg, 1V^6}
“Sibau1* (Tfer &ГГВГ, F. YsiHt 1964)
ТаУи frerm the Crypt (E FrilKls, 1971}
Цй^тлвел/ег (C. Saunders 1957)
Finland
Z'wbie jijJ rbe GAriiJ Тгля (M, KaiH'i^makin 199 Ei
France
7>f C^Fwp-fcry AliJH (M, S<MVi, 1994; Italy co -prod,)
212
Furt'ij'H Л1шчде fry (Iijhfffry 223
Oajt? a/rfrf Здоййм (J. Franco, I^SZ; Spain cn-prod.]
I Virgin Amortg ihe Litrrrjr DftrdT ll. bianco, 1971; Spain co-prnd,)
Zomfrre 5. Revenge of the House of Usher (J. Franco, 19JS2; Spain co-proJ.i
Zombi* Liitdr J. kollm. luKD- Spain cn-prod.)
Germany
Йзй-rwj Bfrwf (M балл, 1972?, Italy w-pmd.)
Znorbiir '90.' .Ьегктое FesfjJr»c-e (A. Schiu&s, 1990)
Hohr Kong
F» Zortffrie CH.1. Hung, 1982)
Г hf J ttgerrd of the Sc^Ffli GufJrn 1 jwjfn?.* i k, Baker, 1973$ England CO-prod.} Кятгядг of rfrr Zombiei (H. MfUg-Hira» 19Ш1 2^№ifrir i'J- Nor/J (G. Ho, 1999)
Italy1
AM LWfr (C. Ftt^isso, 198 К)
BjnjJT (M. Вата, 1972$ West Germany co-prod,)
The Beyond (L. Fuici, 1?81)
Burial Ground (A,	19B0)
c	Alan (Ml fioavi, 1?94; Erance «o-pro<L J
City nf ibr Wj/ktrtg £WJ III L₽nzih Ш0$ Spain co-prod)
[Jjpcti of the Mummy (E Ацглпа, 1ЯН1| U,S., Eflypr cл-prod. |
pettifMri 3 (L', Leiizi. 1941,)
De Bufther. МЛУ- {M- Gtrulamt, 19801
£hjh£ о/ the Living Dead [A, Missaccesi.h 1979)
The Gjr« of Hell fl, Ысь 1980}
Tfrtf Нуме by ihe Cemetery (L, Fuki, 19Й1)
L₽j	Curpsei Lie (J, Grau, [974; Spain co-prod.}
Vrtffr/ of the Zombies (B- Mattei. 19SL4 Spain co-prod.)
Raptors |C. I aftanEi, I98M)
Refttrn af ihe Zvrrdws [J. Merino. J971; Spain co-prod.)
Terra г Creatures [nmi the Gfave (M- .[’Upillo^ 1966; U.S. co-prod.)
Vewgftmte of the Zombies [L Ккгтютьку, 1972; Spam co-prodj
Wjt о/ ihr /(ii?FfrrrS (Si, Vari. 1963)
Zrder(F. Avari, 1983)
Zotflfrre (I- Fmlcib 1979}
Zombi* 6: MbMNMv Hunter <A. Masbacccsi. 1981)
Zombi 1 |L. Fnfci, ИНН।
J ip AH
f fi/.rKg Dead i» Traiyt! Нлу (K. Komiru. 19921
Mexico
GiJifk of the Muwrrrtes of Gitanafiiat№ fT. Novam, 19 ’1)
22-4 Appendix H
of the Doit People (B- Alazraki, l^i>0) fir. S'jjjr i/.s. BJkdt yi'rjgjt (R. Gunzalez, 19Й7) 1нгиаяг.»м с/ the Dead I Ft. t ardonfl, Sr, 1972) ffjf jsjort of the Zombie* [B. Alazraki, Г961j The Land uf the De*i (G. Sdarca, lMf> the AltrffUflfflf л/ СшОДНЗД/и 1И- Curiel, 197Q) SjMtO and Bint! Dtttjnfi Against the Mfififters (fi„ Sok res. 1569) Sj^rfri ft. Lildt-k Afagiiu (A. Crevenna, 19'72,1 The Snake People (J, Ibjfitz. 1968; U.S, co-prod.) Zuntbte Apocniypse (R. Galindo. Jr., 1985)
New Zealand
Dttfd Abw 12 Jicksoii, 1992 J
Portugal
Tojwfa of the Bhnd toJM- dp Оьыэпо^ 1971; Spain co-prod,)
South Africa
Ueiigate №. Levey, mi 9)
Spain
Qty of f/w WtiJfcjwg Dea J (U Lenri, 1980; luly co procLl
Ibe C«KS uflhc Dffd (J. C.illing. 1975J
Dr. Orfoft'i Mcwter |JS hranotij 19641
Htjrrar E-Tp-ress (E. Marfin, 1972; F.ngLind cn^prod.)
Нитгтзг n/'fbe Zoiwbiw I A. de Оз-еогиз, 1974)
Коегог R*sfi from thi Trji^ib jC- Au red, 1972)
Let Sieeprni Co^jes Lie (J- Grau, 1974; Italy co-prod.J
Л1анлгпп of the i ri^Tjf Dead (J. France 1982)
Nrgbt Qf the Uffjghtls i A. d₽ OssmriD, |975)
The Night of the Softxtcrt i A, dv Oi£nnk% 19'75)
Night of the Zowfbtes [li. Mattei, 1981; Italy cu-pruiiL)
Oas/s of shf Zumbiss (J. braneo^ 1982; France co-prod.l
fJefurn (tf the f-iffi Drtfd I A- de Osorio, 1973)
Return of thv Zombies ij Mcriflo* 1972; Italy to prtxl.)
of the HlinJ Dead (A- de Oswiiria, 197.Ц Pintu^al Li*-prpJ.| и'п.ушнлг of ike Zvmbiei (L. KJimoi'-bky, 1972; Italy Lii*pr<id. j A Virffer? the i iving Dead ij. Franco, 19'71» France coprod.) Zumbtf 5; Revenge of the Howse of Usher (JL Franco, 1982; France co-priid..) Zonihie Ljbe (J, Км I Im, I9S0, France co-prod J
Thailand
Gjw5t7P^ King (R. Ru T<ii„ P89)
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215
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Вемж, Pete. *VBf Bodies and Bad Mcdione,” &w*t 27.1(13ВЗД
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Draper, Ulen. “Zombie Women When the Сам Is Male," WiArAegb 103 ИТОГ 52-62.
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Williams, Гопу. 'H/xur Zowjrw; Haitian Horror,rt /ьчт/> Снг 28 i|98ii 18-20,
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Ackermann. Ilans-and Jeaninc GauthiK •Tbt Ways and. Nature of iIie Zombi,1' /омттш/ of American f-oikhrt 104 (1991); 466-94. (This sme-cinet article is rhe most complete overview of fnEkInrir сЬгизсьспг.ишпэ of zombies to dale.]
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Index
4 сиГНгЯ?
jtt A VirgrH Amcwg thf tJIAtrj.g iDcW
\t+c*i kUthia* l4^ ^bbiiti., Bi Lii-c 2.Й. 1J9 Abrahams., Xljrr 177 Ahfji, Anion GarLi 172 AtawrJ see ZtNir&ie 4м
Мгммйт Harelfr АЛгг, Cihdif 2П1 Ackernwu. harncsr | 12"' Ucomh.i ,1 )a s i d 317 Acufth duns Kirk-parri’k 65
Brunke S$4 fli^ntnn, A! 23., 24 A/ter fuatA 12,17 А^л John H9 Agiiiflia, Frank 44 Agmifidic^ BogelSt»
Ж 111
Aguilar, Lui Mj-rj'-i 61 A lift, Kuherr Yun Ju 26 A It?Luhcr^. Sl- Iran J 57 A Lili* Claude 177
Alaziabi, Benitu 41, sh Albertson, Jack 49 AlbrrtBon, Mioi 169 Albrecht, J- Grant 132 Д1сЛн4 Maor 176 Akliimede, tJkjjci 56 AlrxinJw, David 177 Alexander. I rank S'J< Alexander, Тепу 41 -Alice’ 21
Altta 143
The Aiten /Aiud 2r JI, Ж
Allen, Bcb IJ В Allen, WtH.Hiy IIs? ЛЛкмГ f I'dmjw яи
Ahurei, Auggj 201 Aires. Mirka 57 Анин, Edrauudo 103 A maid. Judy 200 Алтеп^гн Cafarjfi fe ПЗУ Ah Ajffrtwaa i&femitoif j*r Loffdoir J 7]
Antes Michad 185 4птг>н£ Jhif dicing Dftrd wc A Virgin Affloirg ibt f irrng Dcjri
Amptai, J^hn 3S, 45, I7i
Aincira, Carlo* 152
AttJ YomTI £«•* 14 J<r-iHJF;r TAr ftrwjrjJ bm П1< ftcyfJFrJ
AndcT^cn, Sufct IS6 Axlerw^ Clyde иe
J:rap*as&j|l Claudio A ndeiwDn+fttcKn: Ш Andersen Mehjdj1 49 Andrew, SiiflAa 124 Andrews, G?Ot> 76 Andrews, tod IKS ArnH Hrarf l#2 AaflfHi 201, 202 Anlrrmrr,. Morris 211 Anouchka 207 Andinny, Сиг1 116
Jf ИТ 7-rHwbrr fiz AldTlipr Hafffrr
AiHiikiHJ , АлГ<и1кПй 2?
211
AitEURi, Kaija JQ AikTlIoTEI, Co* 154 A^llfllf/rjniu* iMnjZuii rCE
Migtr af rfre Zurrtt^S Aj AiirCuJ, CiiliJ.d 207 Arc her, )uhn 26, lJ & Argenro, Dario S ' Ar mstrang, Ron 70 Afjwj- п/ ОдгЖпем 1У2 Arnold, Alonso 41 Arurvld. Mike 61 As-jal-i, Ihjnnj Ufl Aihury, Jamt4 41 Ashbruok Duns 144.
1Й7
Ashlerj Jr4 I 21L Athmun, Dak 210 Aspen, Gil₽= 91 Attin, Jdbhn 117 Tbr Aj/rc]-Z<ijflbwj 4, 19, 216
Е/ Atop*™ 4i wjutT-fTU iJFI It/UT .itt JtitfjHrfl и/ tiff EwJ Dtjd
Arkins, Twntt d4, U7 Tfce Afi ^r/c hlf jjл кг
Al (iflqi trtkSifj AfW> и/ tHiwft яг of fhc £*г1 Diss/
Af^rrt п/ rfer EyeJfjj Drjd s^r KfiWT*T r/ rhr J rrf Dead
Audrey Caroline 12 Я АидгкПр Korxanna 177 Au-red, Carlos HI Austin, Charter 171
232 Index
Avnti, Antonio 191
Avan, Pupi 191
The Лгг'/w/ Dr OH^f 61
Атаги, H-ink JS
Tbs Ar/*+c ATiifflffly 5.41
Baekti^ Richard 51 Badlivy, 1 LnJn. II, 14(1
Bagdbd, ®illu.tri 19
Baijy, Ktrk 181
Inker, Herbert 15ч
Ekiket, Robcrl 1*11
Baker, Kuy Wird 102
ВаЪЬв, Hvb J14
H.ill, pavid 7ft
Balltn, Ruth 31 halnw, li[n iiliy 47
Balngh, 57
Ratatfn, Ts:lh It?
Ramlwf. Judy 111
Bancroft, Bra^fwd 167
Rind. CbHIes lift, 161 Rang; Jev 10?
Harb, Исаит! Fill 98
Barbeau, Adrietin* 33, 6b, 154
Bjr bciri, Cesare 192
Ekirbl. Vir-ctnl 19
ELirk. I'ctri- 29
Вагкелиуес, Don 164 Burket, Cine 13, |4$ Barnett, Latiml 11 |j.irntll, Vince 26 BjruN HIlkmJ1 21
Barrett, fcd-ir h 91 Barrymore. |n|in Drew
Mh
Barwood, Hal 186
Lia'ikcH, Jnmw М3 Raskin, William 211 pMvrd. Vickie 177 В irihuhwicw, Sunny 7U "PaimarT 130,208
Raugbn, Jetf “4
hj.h D, Lnriibcrro S7
Bavn., Mario 21
Baylis, W. (BillJ 205 Нс'чтгь!, Stevie И
Realty., [lluilc 43
Be^udine, William 185
BcvhiiLL, Many 41
Jfcditd, Joan ,54
Bed, Billy 85
Hicqutr', Qtuam Adolfo 4L1
Behl untt-HAfipeir, Shari 110
Beland. R*rh 209 bril, hints Si Belli, Jasmiiu TOk Belhmy. Madge 1^0 Mie, Annie MB Render, Jack IIH BrnJciti, Mcchacl 116 EeniScI, Spentcr 2U9 Bcrieon, William HI Beiaid, Vue* 1, 11 BtrJilil, BLtue 112 lU-ryanntk, Deborah 193 Berber, Kauri ir I9|| Bergcci Katya 198 ВсгЕТП-in, Mary Kay
154 hetrnan, Monty lb I Rcrnsen, Lurh'n 106 Встпг, Fnc 111 Bervii^a. Fdnwari 211 fieri rand. It j fuel 1.62 Bewie, Garcia 1 S3 0«t, _Willk 7» Rctiniti, FffirtL । 49 Йп eriy Hi/ir Вгм/у-ifwfthm 11
"Bewitch d‘ S3
Ист, Mairk'i lb5 BcrcE, Troy IS В Th !!, 21.119, 195
BeytNid! £.rt‘.rri^ tlrJj 4t Я ffftiffl a/ flv SfWTffrji'S
BiaLhv, Chnstian 19?
Bianrhi, Andrr.i 29, 198 Bianchi, Guillemet 98 BillcFck, Rik 65 BioAosard sot WiantJJir
Sjpr
RippwK. Зглпп j 2(t9 lb# BirJj 64 Bnhup. Fdu.ird 141 Blacky (ierry ИО ISImIc, Jiintra, Jr, М3 Rlaek. Louis tl BIjlL, Terry 31 Biljifc Mdgie li set
KePfWJff of Jfet1 Zoiji-&ws I.19S1F
BticJf Zf?na6rrr $er
BLiir, Liftdi J3
TJje Bin^r Wureb Frtiffct 129
B.isit. Frank str Frank
Blandwil, Fran^oise 197
R|jfl<.c, Hup » 61
Bledsoe,, Tempcslt 115 Bletch, William 69. IЮ
Tire Bi'rnd	see
Tnun^r ij/^ t/jr fl/m-lJ iJrdd
The Rlt-k 114
B14M.Jh David 111
Bloelt, Robert 50
PikiriiJfll, Juan 50
7£r fijrtirt wet
JJcJiEjri' iHlboJ
H/tniJ of GAflstty Hot-rar 1J
M* Tosric
RliitHifaiir nf fbe
Drjrf see i\'Fj?b;
гйе Srdjwits
JS^iWltbwrkrrj frartt
Ouler 8, 4 25
U6 i Ji«L tijf.p Vil2f Ztutrjkh J srr Claw ti/ iitf Zffmlrim
Fl 11 tom. Jim I Кб
Bliibiiit, Lti.iL 49
Blur, Hedy 152
Bloc Angj 30
Blue Demuo 87, 9S, 111, 152
Rlurttr 14=is ^7 fllvmeiiteld, Akin 117
Bodkin, Iain 68
Balkan, Edna 2t№
Йлпiucof»-», Francesca Irtft
ВолптЁ*, Mike 18
Bimd, Wrlk Я2
TAr flcisreyarcf 15 fiftbfc e/ Ertocfr 72 Btsikwjhrr, J R, 52,
М3
BhchIii Adrian I7-!
Bo<j-rh, Ji in 4“
Bur diets, [XjdjiLJ F. 181 04ИЙ" ^da Ann 14B Bof^r. Lie. 151 Brjrromel, Charles Ii98 Brtss, I'ftv 11
Index 233
BeKTWK’fc, Harry 1&Ц Bmwnnh, IVwy 211 Rotrin, knh 66 flnirrn r?T MjdtafM 26
Biiwspr, Jeffrey KH Rtfileiiarr, Rrucr ъ4 fl/JffcJj—Tfr# Trrrijr thr I tutHg Di'dJ stt ffrJwm о/ tbt bit'i
Bradl ltd, Lanr 213
Jirad.ioiJ,	116
Sr£tinJti3ii we Deuuf Д/нт
Braid, Нелг> Itfrj Bfaili, Frank 141
Brandi, Walnr 170 Brandner, багу 6?
Brandniu Philip 130 Rrnndt. Carolyn Яй-
Brannon, Frrd С. 213 Rravni.in, Jack 2ОЭ Вгаз.Ь/йЛ' dr tiv
rhfffrr Мпгртг Mr"e I tfT Sk*irpj iT£ Gjrfijri
L/f
BlfJf <j/ Rr-ДжвдлГпт 2B
ЙЛ Jr J и/ /Jr-	**t
J3r <kJrJf> Alojisto1
Bn^anu. Elisa Livia 81. 194
Brighx. Mardicw 161 Brissax, Virgins 7 J KrrxidnELv havid 2fl6 Brodie. Steve 6S КггфЬу. Ji J 4" Brophy. RilImtJ 2> Bn>vvrt, Judy 173 ВгьрЛ'П, Louis 209 Brwn. Щ jl|y JU, 214 Bruce, Jun 127 Brun?'. Philip 144
Btyxiii, F^ttr 153 Bryce, Allan 1 Hub* IS, 47 Buch, Fred 159 Buchanan, Moms 209 BuchananP Shen^ 60 BuenfiL Friki 2W
Ekiktaa, Quin tin 41, 162 I1 4 ЙГГфЧГ ’H’JlffrJj I 5m5Ll
Htjrnir uf tixf Zr’W^m Йнндт/ Г  Г Г1J l> Ftd.J' 2. । ZV,
1Й
fkrrimgmn-Smirfi, ДшИппт 141
Rumfr. Cr^tf 171
HurritElL Bill 115
Нигм, George 114
Вттзц Marilyn 147 Hun, Rr.htrl llh BurriFU^tui, KimlirrLcp^h
15 5
Burton, LcVjt 11П, 167
BurtdTIl,. 1 rfliL'T 2 1$
Bubti, !W 9.1
Buikt William 123
Byrdy, Dart 209 Byrd, Eugene 115
Вугчп. |ejn fi9
f j Cage L»r.v Zoffifjwi 9St 17Й
СлИп, Ftlwird 1.. 37, 67. E9, 211
Calderon, (iudlcrmo 4]
ГаИс'пл, Ped го 41 Crdfa, Dtrti 34, 142, 157
Calmarip MaiilJe 136 C'amphelL Brace IK7 Campbell, loicph. 13
Campo*, BjueI 19 Land lifii, J uar 141 GsHsiiw/ Vinci see
Mtfhl of fhe Zsittibai
Смвииц Anne 1Я2
Cnfliainra, Апъоиш 211 t агигеЛ, Гот 206
CapenllD, Eduardo 200
I aporali, RohrTln 29 Caputi, Janr 11 [ irtw ne, Rejfnwxid Ciirtlsn, CaHrrt 87 С1к1еп«, Elba 112,153 Cirdillr, hm 4 5 Gardcniii R'cnc, Sr. Я7
С.Л rJkii. Jldin Й Lid 113
Cai rlciiiji CttlKfirvc 3 4
Carlin, Lynn 53
CatlSAn* Richurd 73 Селе?, Ahn 213, 214 t iimit at >jf Surf* 69, I&4 <дгрсп1ег, Iribti 66 < .1 гг-adint. fr»hrt 19 23, 68, 61, *9, HS, I60, 185
Carrere, Jit 2-'S
C.irml, Regina 14
Csnnjll, l.efl G. 177
Слг&огц jtohn 133.162
(-ire. Ji>hri 19Я f iner, h'hn N. 2fih C .irtwrinht, N.inrs 38 Ciscy, C.W. 7J CAewNdnciJ, Dan 58 J I Crffjj.l'J'/l df tin чочйкМ
Jil f,JiLfUJr.LM(ih KCF
CJif/f «>f Mimr wKif 4.i|f СкалиидиЮ
Caslle, Willinn U7
Mutnrmei
i’j/ Сшлд^1М#й JO
Car Гя?р/г 91
Caudle K, JanyH 213 (. aulhtld. MarPri?it 167
Cavanaugh,. Paul b7 C«wi;Jw>mi, J oseph 190 Cedar, h»n 147 det iemtr set
Zflwfve 4 p-nrijtypic Tfcr CfJMPtenr MniFT 3(1 C6ja?jjtr*r i.j/ Tiinhifri ис Btfrow BiTruxf
Ginn, Bcrty 211
ChnreuwiijIF, "I iri 154
Chdftn, Robert Id 5 Charteris4 Leslie 161
Chase, [J;<n'ld 196
( hrlriMi, bilk L57 (.hi, Shudi Yin 57 ( hung, David 102 Chiragu, Btlk 11o rfrc<irrJJ M
Clbil^ffH HiJuiildtt 'l Р?Д¥ urtffr Dejd I fcjK'jfj 42, 53, 110, 160
TbrC&Mnjf IL
{ h'iri^r ЧС'illi^m I i4 Chiriui, (.мп I nigi 29 ( hong, bilk 57 Ch^tf^r Cbicfcf й /^зннЬг'ГЛ.'и n 9, 34
( hxuintj rfrrf А.Ч *NJFH
Ltnratitr tee A I'rrgjn
АЛПЫЛД f6r I <4nng
t Jbj'^, PrtJfltiMf >./ k rr,rrr..i4l« £rt A Vrr-
A the Luririg
t inStlHMT, pFitlteSif Jr t'rrolisnre s>w A Vrr-gm fhr Г-г^Ий JJfliKl1
2.3d Index
' йнЙ71Ы, SfT и1 е 4 VjrFjr/я Afnrtmj’ tf?F 1 rprrijt
Chri sJtufihfi; Ruben 6N Ciceheiri, Толу 117 Cigtt, J un 176 ihmjbtr ptir uh meJuitu See Tt'ftuf Creatures ft-am the Crave
Citizen fcartc 97
Glfy nf the iP^J J bfift Tie (tfaHa nf Heil
City af jhit Ljj ,.'ri? jDrjJ see T&r Gtftes й/ Heit
City g/ rhe Wpiktttg 7, 36, 57
Clare, Diane 133
Clark, tkinifwin $2 Clark. K«h 32, S3 Clarke,J.R. 9Я Clarke, Marilyn 79 Clarke, Mindy MJ Clarkig, Robert SB The Clan u[ Nttke 'Em
High Ml
C-lji'flq Aui'cwgi ft I
Clay, Phihppd 157 CJaybourne. Doug И 5 Clayton,. Холив B3 CJemem, Marc 113 Cleveland, George 150 CJiyee, Al 194
Coburn, Glen 25
Goch, tijiTT,' 32
Coo, Jennifer 76
Corn, Guido 191
Cdlfry, T Smcr 204 CoEfin, Tnstriiiri 37 Cohen, Enniiin 40, Я1 Cohen, Rob Hl Cnlf, AI PI J nJ Г 111 hl] 1 41Lc, Rl -SjIlL' J J Cok Royal K. 174 Gollafinj, Sih. j S2 {.HjLIfy, Don Pad** 165 CuLIlfsh, Alaa 21, |93 CollwiB, Juan 1614 Colman, Henry 5(j Cuhwiiha, I nihto J4n
Corulxs. Jeffrey 28, 139
Cone& Aejenct* 116
Conroy. Jarlbirh 45 Сииё., Мапл Pia 146 Conte, Steve 169
Сол cello, Ellcna IS < our nrnza, Sandro I'H Conway, I от 91 Qiok, 183 Cmk, Elisha, Jr. 109 Cut*pe^ Si.itiln wv
Roti, Sielviu
Cordero, Joaquin M Соку, Wendell 1'9 (j.irmjn^ IjJuiijj J 138 T>Jr Ctlrpir VdrtrsJbeJ see Rtfbwrrj'f- of the Ztwbiet 119431
Cursi, Tilde 30
Ccrtfa, Juan 171
Com, Ancrtmo 36
Соггапз, SeifigiD 125 " The Cosby Show'' |)5 Сита, Marccllii ЮЗ Сухгагшг. Mauribio 192 Cotter., Candy Iff?
Concn, Jrwrph
Сои IlILI r.R, Genrjfg [4[
CcJUFL, iluiEEl 39
CoHyomndijarv Gian-IrafHO 60
C.rjx, Richard 204
Cuy, Walter
Crabbe, Easier 1Й
Craig. Charles 121
Crarnptoru Ha rbara IJ 9 t.rav^, Wes 55, Ш Oajtitw u'ttfr the
Вгагл 6, 47
г see Nrg^t nf the Cinrt'fur
C.t-ei'pth 2, IK
('reven na> AIfred* F 153 С«»че i. tfoodrM? йее
J.CM Cril»rrnci 4r не Zcjwfrj*’ 5 г Ямщищс1 Jfl fbi WchhJdr uf U4>er
Criianii, Giihriclc 29
Crisral, Littiii 5V
CrisraL, Full 61 CriswtU 136 Cntchlijw, Keith 11? СголелЬег^н David LJ
<>4itiirt, Paid 12
1 rosby. Dtnwe 1;J2 Сг-мь, Henry 63 Thr ( tnsfi c/f t!u Dn^I
2, 40, П2
I ri r^'t. Rte к 94 CrW| Alejandra Mt
Blue (Jemnn
Crw7 del dr^biti see
Thr Сгглг nf the Ппя/
CrypT of r/k' Btifid D\ id ace TumJm й/rJbf OJind1 £Je.iid
Cully, Zara 165
C 11 It о/ ibr Djimtid «с
T6< 5лаке Feupjt Conuni ns, lames .25 Cummins, Leslie 138 СитПеЬц J_M. 125 Cuitmndianu bean S.
IN
Cun-jo, E-J- 76
CurH-l, Ftrdencrt 112
Curran, Penre.i 7B Currie, Louise IBS C^rw о/ th? filttr I igbjf
10, 41
Tbe Cuftf /if .the- Dull Peuph 41
Curcib, Jamie Lee 66, 67
CuFEif. $«ЭплЗ 57
CusEiin^, ]*cLcr 7T 711, 102, 159, 168
lladashian, Bohen 31 Пц;|щгП, Dwm 202 IktL. Kei 106
Daily, Elifzalbefh 129
Daly, Candice 17
Daly, June 32, 53
D Amina, Stefania 194
Dariuiturh, A.J. Jnl
ITArfiJlLkf Jut jec Мэ>5' taixesth Arisiidr
I.Xtnhy, Can 191
I bnwli. Emma 99
Daniell, Henry 67 Daniels, DaA-ftl Мл-мш 129
Dann, Ftoyal 109 Dansofi, Fed JS IJ Arcx, Roy [j|| □ardkk. Ruth 63
JAtrA1 p/ the Z*n4-
bif м« йл/>.Гпт Darrow, Oliver 1fi9 ГЪлх idson, Jaek 159 I> in Jinn, Robin ItH
Snd^ic 235
Diividion. koDald 233 UavK Karl 211
Davis, №<k 3, 155 >15?
Davunn, Мик 114 Daw. Virtscnr fW
MdElfi. Brunn
Djir*r n/ the Dmd л S 4, 11 41, 4b.. $2. 11», 123>138,193,195, 197,198, JOT
DjJJTl ilf rJjrf LjrjJljf D,m J ver DiUU'it of ibe Drjif
Drfu^c of ihe Mujewwi 44 L)jyT VFri Ш
D.jy jf rhe Dt jd ft, 9.
II, IS, 28+45, 52, 9V, 123, 13», 109
Dfjd Ahi t iv. 4?
DmgT and 44 У Ac Dfjd Di.d'f Lite 5G, I97
D^jJ Hffjt 51
The Dvud Next Ог*й?
IL 52, 202
Eh'.jJ1 □/ -Vijf&t S3 140 DekJt# People ьет Airs-iiilfr af £jtri!
TAe 1ЫЛ'Г 10, 54
T7w ?4rW fbjr Tjit sec ZctfFrbitj Л / Afrt.rd- Tdif
/Jj и Ji'v J-rj'md 10, 55, 93
De Knptl 3, l-ftbrizio 22+ *аф 31,
DraiBn DarM 141
Dfwf£ Ctrrfjf set Stock TOlir*
D^rWi-t rm sec Dead л/ NiS^f
De Klei, MjTikifl SO
Dr C;ivtrr\ |.L, EermudiTi SO
Dt i. «if JnTu, Pc J [ч 73
Dre, Frances 91 Deese'n, Eddie Io* Dr hLaecn, Liu HI Dckkrt Fred 117 Del Campo, Cisaf 153 DcLeun, Walter 73, 154 [>?lpdo,jofie Lui* 36 Dt-iitf morfr, dri’asflarc
«ve Tbe Crieff ГУ Md4
Belli Colli, Alexandra bO
Dtlnun. Jeffrey 182
Del I 'deo. Алке I 7S
Dl-I Mist-, F'l/rcr 110
De Marrinn. Ferruccio IK6
DeMcjo. Carlo 72
Pt Xlenihfjj, AlburlO 7S
DtMalay, Karl 21.0 1Эечтрг1ГН itinj L4 flfiwu -л 14, S’’
DcrtfujSi 3 4, 5'6
Demons **5 &et Tto
Cemetery MJ"
He М цй-rt, Jefltlcj1 l&b
Lit Nava, Оказал! 82
Оелпшв, KichirJ 37
DeHiu®, John 71
DeNobit, Alphonse 70
De Qssorin, Airundei 7, 40. S0> 10.2,1Мч 123, 124, 141,146 > 171
Depp, Johnny 137
Depuay, Theo 75
ГЧтеп, Maya 1
Dl Шейх, Jacfc Л. 33
Dr HlfJ, M ЗЕМЛИ! IKfl
Deflctfr, AiipuvL 85
Dr Rumi, СИППСГГО 2^
Do EaerW), МкЬм! 187
Ef Dejitfrfu de J™ «cmif-frrtJ SCC (JiLSM
Dcwaur Ruben: 13B
PcVttnccnty, De ЬомЬ 41
Drvenic, btnart 47
Dever, Janice 26
Drji^frtiil Dk InnJwj me T/tt1 inctedibiy Sfrcitrg-f Crcaturff \tfjpp Td f ы/МЩ
JhJ Вггяя^ AdWflrf-
L1J> ^rjmbr-rt
“ Dial ’Z4 f«r Zumhiei'" 58
Di CfcCDO, Hubby 16?
“l he Didi Van Dy ke
Sbpr" .177
Dnckey. Paul “3
Dierkop, Chades 109
Ditrlein, Marsha 1+4
Diene, Frank 208
□ten. Jack 2fc, 185 DiLeti, Antone 45 Dilkr, №fUW M Dllln'iiil, Ikin, JL HI DiMucci®, Erian tbl Dishy, t*Hih 114 Dixctn, Gknrt 183 Dixiiii, Ken 215 rkhbrin, Rnn>ld +4 I'lflr/nr ft/rjrjd'r Gjflfn
5, 59
Dr. Ли/M. D. 60, 125
Dr, L jt vli t .АГглГгем i« ЕЙк Ог/с^Г* А1мч 
STrt
Df. Orloffs ЛТул^ег Л, 61
Dr. -SiiidH ml Dtidi M^pc 6b 153
Ki Dr. .Vrjrj у Ij ftej^u PV'JTJ f^Lh Dr. JcHJ W. Hladi
Doi, Davis 154
Dnlenz, Cjrtwfte 134 DalUT'^micls. Lindy 2b Pnrtief^iie, Fairh 82 Donahue, Troy 33 l>CNnariP DonattHi 19 P Done 1%ппф N,iпсу 44 fliin'r Co Й1 ih.f M™ew 63
Dsn '1 OpMS Wrft' |2гш* sec Luf SliffpWg Curpitii Lit.
Dooley, Paul 114
Doria, Daniela 72
Doru, Sliiio 186 Dcj4jgjA5, tJiirdj >n 213 Doyglas, Jerry 5<1 Douglas, Ъят.3 h 145, 142
DOW. ftarhnr.i 117
Doyfr, Tira 204
Пгаги^л and the S’ers™ G rJJj^F I THi^rrr# iPt Tbr i rif Se-JJFH CIhjGj'j-fj Viiffl-pirtrs
riiiit'ttl.j 2 "DtfMnci’ 94
D^uddi, Roudln I?
D HiiFHS о/ ihg jungte ’.pE 0MJ4J^J
Du-ayn, Andrew 6i3
23& index
Dulkigh^n, J । jiib ' l DuidayT Frank JOI Омбаку, Evan 182 l>uranJ? fem 85 l.i'L^se-Jij, Arnaud ”3 DuvilJh Rocky | 77 Ojrsan Richard l-ttf*
. F Iti i *rrl terrors! J’jJrfjJj w Thr Reytind
Tbt Fjrfb Dies- Sc"-игл>-rug 63, 64
Flan, Carina 162 liitfnun, Ljcurgc b4, PS EiiLrtLiJi. Marilyn 111 Ел ши i j, RoJnry 21 IbislCR, Sid l-Jfl
EafyU, SLirjiifie IL 1, 211 к a to ci, Premika 101 Ebtrhrardi. Thom 1J, 1M
Ebert, Rcjjtr t* klZcksiJMf 5 14 Ы Wood 137 Fdrrurid, |. Tintir 145 Ldvira rds. Joel J. I Lil Kffner, Ryan lOl F-цяп, Afiyk 161 Ege, Julie 102 “Sighi I Erwsugh' TTO ЬЧИчсксг, Cindy 15“ L iruj, \tdrijn l“t Elf nun, Rkhard. Ibi Lliik Laura 15 FJIjMjiS, Ja mps. 41 ЫЬмэП, J Jэс ph 6 J Efeeyh Vra'jc W5 kmEt, David 42 ЕпДОгшп. Jean I S3 Елуи, Enru S6 Eram. Rene IH к Erortc NjjjErs of ths Гиг-j?rf DtW 2. *H
FrKule 83
Еасямь Ma hr I ГО7 from \'hcj bi ri
Ю6
Ем.гя1ггицр Pierre 207 FJ F-ifaltttl? 3Birge Ji 4 J
JmwJm 6tfC SirjHW Д*№Р ^Lh'P (Jir Tr?W*i* Ertchan, JtiliJq 207 Efrtutb., LHjpuj kJ Eiiairimanji;, J am гъ, .25
Evant, Ml like K i
Ь*ДГ"Ъ Ku han 125 t-vene₽t, Clime I 54 hverttL Rupert JU
hwi Drad 14., 43, 52
Ewing, Ployd. Jp, 52 ТЛе Ejaurcrrt 34
Ел her, Rob err 211 Fni.id, Zulina JO Faison, t^arl 196 Faison, FUenc 45 J 11.1 Г  .1 Eduartlif 40
Fa к hi, Anna Я0
The Ftrti of the JftMtg nf Uii*er tp1 Z'TJicwib.K' _f: Jicvnt^e u/ limine
Uii er
Еатйкпсх James 4У Farnjw; Tisa 134 ЕамлсРт J«hn 2ОД Fjuhi, Flnra L5S feir 216
Tie iF&rr 5tt Tfrif Gates
<7
Fflar tit iht' City fsf the Lnj4j? tifwd set i G a r« of Ней
Fear t>( iha Dead 12
Feig, Fiul 204
Feldman, Corey 1SI
Fell, Nonn&n 25
Felt, AjiiEium 9ь Fcnti, Shcfilynn 204 Feuiftia, Rubcri 43 Ferrer-, jMel 36 Fcffigwj, l.nu 20h
Ferrirtj Dpug. 69
Ferry, Peter 52
FkldL Virginia 6J TV-rc hrmi witir fir
Дмтц Нт..-.1? Sre
Hi’ij.ijJ1 о/ Horror
Tkf Fiend wrt^ the t Jtv-frunre flrjri" 24
T"i'- Frrrrif Mflli fir SyM-ihrfh Brain wr Ulnftd of Gfratfiy Horror
TIlJ Fiends 4]
Fitr'bcrgj Sicvrn 1(2 Fih de- j-trOiMti [bird (vt rtmertas M.T I.er
Corpses Lie
] ijincran, KaW 123
Fiji hef, 202
Fifhcr, Allan 20ft Kishfic, Tereihze fcJ Flagg, Lash s« Steepler, Ray bcrht>
НяпяЕ'ап. h>hri 33
I’leminm. Rrandffir 191 Flrrn'rijii l^ltC' 141. 1~1 Fitfhealer 65, E2l Fiftrey, Robrrr 85 Henri д । f lr>l]y 116 Flcrtbcw, Rudolph 209
Tie jFng 2, 66
Fulicy, Gmrge, J El I 1 Funoil, Luis- 126 Fop Ьм ТЧоЬепмm, j nhn
Ш2
FnrJ, Aniirji. Ill 9
Fond, Philip 174
F«reer Кел 42
I ortmatt, Urbttrah 1B7 Formica, Fabiana Ф Forsythe, Hmdmwi 53 Ftjrte, Fabian 14" Font, \inccnr .21
Foster, 4irg 161
Fcirter, Rr-Ьгтт l07| 207
Fortcc, Stelfcm 1 rreprtry 54
Tfr Font й/ /ичл1&1ч □‘jAc* 67, 132
Fiiwlcr, F;jnk 111 Fowk^, Скьедс 39
S oil. Maiibc-w 114
I cjjl. Tom 142. 144 Fejjf, V. d I lift 26 Еймх, Kim 2P( Fragaiid, ( laudio 17, Ш, 193
Franny Freddie I6S Francks Lion 77 Fr-anoo. Icsth 61,107,-
126., 12«, ISO, 197, I9S
Frank, A.SL Fr ?nCO, LcMteur, Daniel
I Свпк, iJisna II I Frank, Nick 6i Frank, Will 210 EnadtaHt»i« 2, J.5 FrflprfceHJifdrr LL-jJ 6Ё, 170
IjldtX 237
FrJiUL. Eduard 67
luzct, Sil IjIHls 12 Frederick, Vicki J I it V.dt-гк 6?
VLdfur H.1
Frcsaa, Giovanni 82 Frtrfdr the UtZ- IM, 2iffl l-rindl, kt-пт 41
Friizt, Fabtu 22 fircfni fhf hr r>i  if h’rjfh/
ЙЧ
Frn*[, lee 71
Frost, I indssy 51
J"TfTJ₽n SfTrMini b9-
Fry, R|<4 38
Fryr, Wilbjin h1* Fuhret, David III Juki, t.ufwj 4,22,2.1, 251, 43, 40, 72, 81. 11ьт 1.513, I94t 198
I uJJeL Lureli 210
Fanari, Dirct 64 Fun?, Sidney J. 54 Fufxj, Sonia bl
GaiiibH, Jim 17 Gaibo, Chrin’iTK 103 Gdc* Ds nd 28, I*’ Gale. Ed 34 GalinJii, F.iul 200 G-ilindii, Ruben, ]г. 200 GdUinfdo, I иди 112 Gj№, Ida НИ Gjlljgan, Zach 187 tj jIvct, Gudkrnw 153 G+JwiffTij 69.J 2* -'V GjWm ttfibe 71 Gjirfield, Erank Mrt
Giraldi, Franco Crilirfinkcl, Philip 173 СлЛгцмЯо. Giiistppr 56 Gsrl in^HW. Rick 25 CmiftW, I яш* 2|ГЧ Gtirrnne, Riccardo PO The Gaha of HftS 4.
21,72, m GdthriflFt, l-in IJB Gay, AurrrtJ 194 Gj.j, Grsp.«ry 37 Gaj, Ramms 41 Geary, Aiiitiun* II Geer* Leonard 251 fielirt, Mwiiel 12 bf Gcanser. Laura 64 Gent de. Denise llh
Gndfijc, Cluiiruplkcr 72
GrrsbttJit Gina 182
Gcrwk, Frank 111
GctXr t’ths -54
Gixti^j, Альг 2'i4
The Ghdft Hreekers 73,
У6, L54, 214
GhosJ Bnjgdde sre The J Ari£diJf
T'A< Gibiwr Qai’ik'o.fl set
Hoirrw of'ihr Zcm-bwt
SJtip f.»j iht fii rfd FkaJ see Hnrror nf thi' &rnthjtft
Gibwni* Rhcinda. 12
Ciil^lut, L jura 205 а11нл< Jo 20?
Ciillti], Jeffrcjr 32
Gdllkk, Jnktr 94 "Glllll^ltib J bid Ji J ’ 20 tiiJJjLLiij John 40, 41.
из'
bi Ihs, Jaunt 70 binert J<we Айипиз
Pewi 1=24. 171Л 176
(>1 пчЬеттй, Машу 182
Gfflisfflij Knrjf 2, 75
GirribrV'1, Магм Anpcla 29
Giraldd, Ргяпгп 116
Gimh Pkttc 1
Girnl 3.ГПЦ, л гino 64.1
Gu.Mi'i, Mkaiimo 21
GhilMU, Eric Geehufliwc; [Эпппу 54
Guddard» Cha гк s “3
LrtJdJarii, PJulcE ic 73
Lrtjdfcll, Vanda 63
Cr jdufti^, Alexander 187
trtjhin Ah 4.5
Ckddherp, Pan 77
Gfildhe.rK, SheHa UH
GaldNaiT, Млгк 51
CrtiJIiid^j, Becky 41
CdTflsilti, Rogdsri A 61
Силкин, Ik-niBrd 78* 211
Gtrrdcni, Gharka IP
GtJtdnfl, i Jiri true J1
Gordc.Hi, Siuan 28* 139 The G^Fi'WieJ Zimb-ie
C^e/ /tom H*U 75
Gt.ij^lnn, 1 rank 21
Giiwcn* Thomas 70 Graham, Ranald 157
Gia him, His^cr 52
IkLcJ 37
Grint, Л[||££ bbU T'hfl Grapes of Deitlh 11 Grasilinfi, Afex 19ft Grau,. Jcn^c 103 tiFJM Mrsdtfflff-Mttrf
5« Njjtr J jfr
The Gr№e nf rJ?r i ir-jjw iirdt/ st? Oasis nf litf ZftfftbifX
GraniiF!, ^Ihinir 107Ч1М Grrjjr 11(1
Crm flibi tgu Mali 106 GracTie, Richard Ihk (гсгпципк, BfdiJ 1 52 Gftitq. Mfcharl FJ9 Grcgft, Jicyw 191 Grey, Sisirutichii 70 GrtfV set The
Ltj^i
Gritfin-* <-l,ure 95
Grimaldi, ban 63 Cirimei. Sctnt IP G-rise, Ficrrc 20S “Gmsly A-diffiS" 14 Gnjrnirifi, Man 5S t'rrxws, ,|сггт 84 Gracfli* Michael 52 Guftry. Cary 113 Guhper, Clo 142 Gws-fjne, Fred 132
11 ad[i laJAm, FishuAj^ 30
Lhdky, Diane 177
ГЬпщсггу, Пап 13
1 Lifitb. 5ч?ап 111
fhiLr, ftsthard 85 HalcVv, Juhan "'B HJijIlrn 185 Hall, H Hire 1Я5 Hall* Ion 209 Hall* Liinrrnce 44
Hall* Willard 41
11.1 111 wrll, Ltilic I, 5 KiJlhn^r А6,2(Ю HdfJ«Miwrr J JI: Scdjtwi
of rhr U tt'^h 94
Halperin* Fxlward 2,
I Tl\ 190
l lalpirriii, VlrtLMT 2, I JO 1 !90
218 Index
flolpui, Lukt <6U Hamill, Ma rk 154 HiinsitctH^ Irfiany 50 HammjIL, I.linn 63 Hammond, Orient 6У Hammond,. М*гсиь 114
QfvIIc h 67
Tbf	W'rwUJH
we Ref uni .70И1.ЬпЧ
Hanlon, Kevin l",3 | IrtHTlE Pi, KilLjClJ 31 Ihn^KaU 114 third RocJt Ztiwfwt 2,
B, 9, 76
Hurdnun, k.j.i'l 121
I tare, LiimsdEQ 67 I [агтил, Renet 69 Harper,. Steve 115 Harr>ih Pafrrvia ни HarrmRinn, Cutch 50 Harns, Chris 201 Harris, Ed 38 НягГн, Jolie 161 Harm, Kane 120 Harm, Татем. 4] llannis., Winifred 130 HarrTMirij, J<ihn 139 Наггмоп,, Pan I 82 Harch.im, Themm III Harvey, H-inJji! 1(14 1 feu*erp JciirieHe 210 ] laiibcr, Wings 1U ] lawes, Michecl 129 Hawk, Jay 16?
] iaya&t. I fetku l&fi ] layes Alliaeu 211 Hayes,, John 71 Headley, Mark 127 Hmiw Cm Wjji ПЗ Нелгу kfetaf 77 Helfrrd, Dtnms 173 Heil. tjf the J jMirjf Dciri
«С Ziumbwj
Heil of the J.iwrg DaarfA ке WrgAf of fka Ztimbu
Heiibound 54 7Я Heligeie 70
78
1 ic pc гп. Dfiv id 5 1 I fendry, I Jr I |M 1 JcniieU, Diana. 15 J ferbsv Btvky 161
HerililJghaiiren, s*r*e 12<J
Нея, Kill 199
НеЯсм), Charteron. 99
He. .hi, Headier 83 HnJicnlooptL Grargfi |L>h
Нккпх, Antbr.iiiy 187
Higashi. Sumjlec 11 i кришч, Howard (SO
Highimifh, William 75
E1iilhrdrb Fernanda 102 Hill+ Deho 6n
Н.Г1. Jj<k !Й2
I Lil. Mariana 109 HnllijrJ, Richard 79 Hilliard, Купи 70 Hinz, WyJ^jiug 199 Huu.rrtdirt. Bill 65^ 121 r 122
Hurth, Richard У.З
Hkcchcwk, Alfred 121
Но, B^runy 21 i
Ho, Godfrey 211 Hoharman, ]□ II Hodgins, La He I 4 Holbrook,. H?I Ж 66 Hchldren. Judd 21.3 Holoh* Diane ( lay re 206
13сМЧГ-ГИ»Г1Л|С Ruylff M¥ ttf thv Cniffii
Hrjiijt, Jaitirt 140
I HLirhantk Ron 83 Horwrrh Jorpch 19 Htipt±F Апла -ft Hope, Hub 73 1 lupkkJis, 15v 113 Нортипи Rjjsell 2 W
Ham, brica 1LH
HomNciMV, AtcJhj r. J c, 73
Horror 78
Tbtf Нотяг fif Forty
JfrarA 4, 79
Hrjrrnf- п/ rhf 2шнЬг& ЯП, 142, 172
Harrtri1 iRrwj/njm rbf Tcw/> 81
Ha?kins, D,n 34 IkitttMi, PnndlJ 119
I IdJUghiDIL, Dnn 11)1 It* Hiuadt бу сбе
Сеией/у 81 Ножге и/ Set®я
Сифлгг 81
JiukJf of TrFTlrf Mic mf ftfe Zunt-brri
i ke. Нииле bkidl Усыпит S3
Tie H mm OKisidi the set T^r Монзе by the QfW-tTT
HuuielyaJan№ 141 Ноцчгтап. Jiihn 66 Hoiuman, Rarrkk 200
Howel, Baail 85
Huerta,. Rudolfb wr Г1 SlintQ
Hujjh-rs, Krilv ЭЯ
hfe^hr .. Miku 132
Huge, Mauri* 148
Hiu Jll, Liu 149
td f innditmtftlo de b G«4 see Zittri-bif 5,	of the
Hoase л/ Иллгг
Hun,gd Hwa I 97
Hcjnrtr. Henry 85
Нчпгет, lap 53
Hl! TLt, рГЙИНЬ'П HO Hu ruin, Robtrr Я9 Hiiyck, Willard 109
I rtw Legend 99
J Drink Vcurr $№itid Й4
J ElTI Yun г ЗАпгг 83
1	cc-ri'iff d Zuittifcre
3, 1П, 9L IBS, 215
I W'llf J Tcd'^M^c. Ziwtobie 3\ 10,12.. 93, 145
I Wuj a Zmwfeig flit iht I-'.E.L 94
J, Zoffit»; The Chroni-rff? rd Fsjft 95
fenddli. Dean 111
IhiiH^, Juiin Г62
**Tht fetrL'dihlv DukrcKT Markesan" 3, 85
riThe incredible Hulk” 208
intredihiy Mixed Up Zntfihie we Titr' F'Jki-edjljdy SrrjTi^< LrejUifej. WAii Stepptd Lwtnp Lfiid ticcdwr Alr^ej-Up
Index 2W
Tie buredriJ?
ОшШгеа tl'ib'j Stepped Lpr'Tnjf jrjJ Вг№?т Aliurci? Гр ZiPrnfoirS 4, Kb, Hl йгмЛпsnita nlfa i-mta-
4ff«jTii act < m. nf 'the
ЖьГЙГЧв D«Nlf
Jjifrmc* merrfj i^T'rprfr w« Njjc^J п/ the Zum-Lrl
luglrt, Rufimu 171 lik^ifL Etarw 177
Lnncb, ^cvEt 154
Ink rfi г.цЬк AjitHiriclJl 2 J rri-Jii -i /ram Л£лн 14*
JK
Li farjsrcw tie In#
ifin* -Kt imustffl <rf thr f-Wrf
I j	de Am torn-
fiws tftoiwevf sec City of the Walking flrarf
.'ittWTjrM О/”rtl’i'Wirr
Znrwbjf* wr Ctrynf ihe fflnX-rMX D«J
IttuUJi: tH f tbc Body
5njfcAm 14, 18, q4
Fjpstsspew n/ rfv D^id1
B7
irotorfui ijf tint Zombies
8 Ji
The Jm iiiirie Dftid 216 {ttptoibie Invaderi 4, 44,
Ё9., Id I
Tie 1L'.’ I trcl л-nd* John rC EsbeU, Anshoiiy *J4 Lr hi* dr Ins murrtftr
w Tttf £iw6r iPf npiff Т/т JfiUrtJ о/ the l.Jff
Zu mb its w fta M-D-
Island vflb* Living
Ihwd *5c Zombif island iff tb* iNdJl'r Foo-
рД- ttt ТАй fawplv
Island of Им Zr mfrFra их Erotic ЫДОн -af thr iI-JItFJiF Dead
(fir й/ the Snake Proplf 4cf Tie1 5mA* Регьрк
Fj F4T From ti-<r Str sec The Abrn Fta*J
Irchy Ksrdhta 4 I ray, Victor 19
Д'Ассии/ l<
Jack. Wrtlfrnun 11Л Jaekupn, .Mkhnd Я» ИП, 171, 17^
JackwR, Putcr IP, 47 *.'Pizk.“.jn, ГЬапаря 174
JdrkutLH, Julii 52 Jjcobtif Michael 13 Jjcuby, Scrat 167 J.iifc, Sh!i 21 Ll3J,ct, Dean 150 Jama, JuUc 113 JjimM-, L« 70 Jj.rntiT Sieve iSS Дей* Eyre 91 JiiciaunT t-гзпк 31 jiirosz. Кеп 2Й5 ja^mcR Eiirnt tft4 }лнч 207 Je.|fryy$, Afine 2i4 Jtmk^i Frank 214 JcnnHip, Hrcnt I 55 jrnrrttr, Rita 2Й6 Jcihinir, ZiiJ 13Я Jt^hnKMi, Din>rl
“ifflalh” КЯ Juhnun, Jcthn Неяру 41 Jijhn^cui, КйГЕ 1б4 Jfiinnacm, Larry Dr 165 JrihiiiUih Mjihi'lk lS7 Johnson, iNcble 73, 74, 154
John4csn, Kichjfd 15*4 Juh nst.sfl, Tiw 13b Jonct» Chude Lari 2S Jones. Darby 91, 214 Jones, Dnniw 1Л Jernes, Gerty 1 ? J Jniurs, Juhn 71 Jcn-Fs, Mit hac 1 113
i. Prince IQ4 jdirjiin, Frnnc® l.tH Jdrtrfih. Adrianne 17 JbynE, Sahf Joyce, William ЯЗ Julkjisu t62 Juhu-s, brijiriii 41 j пгащ Jitf ry 55
Kuan. Larry 131 Kalinowiki, John 200 Kat! ijTiwxcE* Helena JIT
Kaliixidcr, Salln: MilI-dlcinn 2ih
KanhHi, Ipo i 1.3 Kaplan. Mimie 10# Karsy, 5«1йп 126 Клкп, laim-i 142. 144 KarkiTOb, Oljp 194 Karljnff, Roris 3F 45, 162.1ЯЗ
Kiiich., KiiFl 109 Kata, Gloria 109 Knlzm.iTi r Sjiil 2nv 185. 211
Кяигвлпйkt, Mikj. 199 Кдvnrr, |u|se ЛЙ Кау$ЁС, Allan IL Kearney Carolyn Ь5 Keene, Turn. 136 Kth r,. Erin 209 K$pm, Krkta IUI K^iEh, Ln J 74 kci[h. 'Wnody 28 KcIIlt, Рч-irrijtk 4i Kdletf, Sarah 22 K eH}', Jairwi J9 Kelly, Lrw 26 Kdly, Thmtfas ] R2 Kylly, Tim 165 Krlsey, Cknrge 1Я Kehr», I rlmnnj 96, 14 8 temp, ЧЕлгип I 7 kemper, Mik. had 203 KrntiiLl, Bretidj. 47 Keudjll, Tony iee
Stella, l.vdanu Kecirudy, Atthur II?.] Kennedy, Hal KM кнопка, Dan Q. 15S Kent. Peter 1.410 Kent, Robert F. 89 Kcnw^rth1^ Michael 144
Kera 106
Kt-rl, M.itrhpia 149 KrruE, Refer 1Я0 Khan, Ibrahitn 44 Khmrric, П. L07 KicbriLik, R.L4C 18(3 Kfil and Go JfijJc mf The G6iM
Kiting ЙегйЬ aee Kjjj-IOF4
ТЛе fkA ъ« Tbf l.tist Brigade
Ktiiinff spree 96
240 laden
Killnvrh., Jihi S3 Kimhlr, LnwHiKC 213 Kin A, Alias Mb Kici& BJrlura 124 King, liixrid-t 44 King. Sa гр he  ЗЯ, 132 t.tf nfrr Zatabiet 2, 5Й, 148
KinntMt, bCaihlwn 2Я Kiiby, Pierre 211 KitIc. IrjErlniV 24 К it k.t<jii rH-]L Clare 51 Kiser. Terry 188 КЙ£ [faddy Gfwdbyt itt RrfWXt of the
К [hit, Rchert 1ЯЯ К ki r, dr I Inwjtt.1 4 5 KEinuivSkv, [firn 17ft Kl'iimer, F-VJfi "X К.СЮЗ, Mnlry 11'1 K-nch, HqwjnJ tit J Knufcansky, Hanftt L9fJ KutiiL 1л Hili’ 70 Kokai, KubcTi 52 “ Ktilclrf k: The Slight
Stalker" 19b. 137 KomiziL, | Gain) Kazuo 106
Kini.hf, 1кщд1ль l^U Knsri, Maria 123, 124. 17-6
Kotru, Ysphet 1&6 KftUiM, 3inj 2П5 Krrvcij, Brad 106 KniKt, |nhn 113 Ku[k, juni 70 Kirrry Frr Z-.гпАгг ^7 Kunitli, Ki-llrj ~5 Kutrr, Клу Z04
Ld Cii^r jrif Zu-mbtei 98,[78
L.-aborttaux, Matlhew 55
Le LjAyjjrtt.^ m2c A Virgin Аянмгд r/w i Dead
J x Ldc dff ™*jrfj r'rrvrnte Set Zwirbtt Itike
I лСсигЕм; Jacques 68 Ladd, David 155 Jr ГI .rgn dr Jos wwrtw йадгяВД kc Znmbig 1Л-,-
lari, Joseph 211
Tfar J flfcc nf the J.ifworg DrriJ m« Zwibw I afar
L'aidiid ₽e< Tbr fi.-j ij?jJ Lumbert, Hrnry 12Я l.imh^rt, Jack 154 [лтЬсггт, Mary 132 ТЫ Land tsf ike
Landau, Kkhaftl Id2
1 flndist |<ih It 171 Linduwi. Myriam 12 В L;irip, Lisa ill Langdon. Ryy III Larkey, (. irrn Im4 Ьлл?г, J A. tee Hftlhin,
Jean
Lawndi'L Dflumar S2 JJ'f |М.ГГГ NF F.rrjfe
5, M, W
Lntrr Ratlid 127 LacrBiiii, Ci-audio 135 1.ИЫ, Chrm 97
Tie Ldtr^iiirtf Dead W I. Ьаигиц. & JuIiil J 7 Lau rel j, Alljn 75 Lavin, Gabride 1^2 f LMtJirttuiii'ef AlarJ 54
LawHin, Ghenl 34.1S<J Lawson. Richard Ib5 Larac, Vtsonio 22 I.eBnrp. P.0|iii’i;iltJ IfclJ LrC'nricr. Jacques L69 Ln, Charles mw Hu.
Gnjirrv
Ire, C'hrir. triplier 7,, "8-T.w, Joanna 13fi Irft, Jomifl 1Ю
Tf*‘ J.ejrwJ о/ thtr Srt'rn dolden	|<12
Ltkhicr, WlLLiiifti 99 LciglS b6 IxjrMiMEi. Marju 199 Leinos, Сагкч #0 LcilXJ, IJieiIk'i-Ihi J<6n 5b Leon, Ca/lrrt 9H Le^n, Eva HJ7 Leoni nd, fcren 54 Leonard, Sheldon 13U„
214
I.l-aiw, Alfad 21 1.еорсЫн C4enn 154 l.rrcjra. Ссшатпеу 96
Lc&oftir; Daniel 129, 19". 207
I rf alerpw/i i j< ПЯ
Ixiia, Оспой' 25
I evry, William A 7B
[,«vy, JwLEl *4
Irvy, Shawn 20K
Ltwii, I (erschcll Gor dun 6
Lewis, Jj.ncllv 215 Lcvlik Jerry 73,. 154 |j,!Vr'E!^ l.lllJj Ilf Ij^wr^ Fjv! 82 xwts, Sybil 34B I cwneF. Pencles И I.
Lewton ( Vai 91
Ll Lily 14.9
I ih ‘гГ. AjBri 1^0
Li Вену, Richard 45
Liehnnan.Wayne 70 I icli. Lo H9
I lfintDF, just ItlllZ 103
Lik, Pak Sha 97
Liiiicrj, Vervcnea <71
Lis J, Robert 111
Lind, TrftGi 114
|. IhJ?T| CIlFlh.tJ i ? LindJcn, Viveca 3S Lllil\ HeitLa 7B, SI Link, Ron 204 JLjnwtf pwrgfcv^ Нгнтог ITnr^-Oxif 104
J.inttnl, Rrtry Hy^n 8 4
l.ipperr. Robert 99
l.ippinoorr, <;hjrks II"
J ively, J,i ton 1|7
J.rr ।лi я Zpnwhir Пглггя
10*
Lrc r^ Pi Jcf at Mjrjehmtr М.рг^ме wr LrJ t'nrfrtet I. ft
Lit r«y OuJ jи TcjAytr Bay iLNi
Liridesnsn, Rrtherr I "4 LLoycL, Kollo 150 L-пщ^з. Kristina 34 Lon. Manna 193
Lirrtdun. Rcwt 1
l.iinp, P-i(nek 61 Ltwijift. Sal 301 J DOffl'eJ r*4 flFJchrJlfiiy
ке Zowbret <w
fl FriflJtfWjr
Index 241
Lftpci, Alberto иь
Lorey, Lkan 114
I'J.f Lost Urr^adi КЛ b.we, William 4H The l.oi-r 'A'artfj are
t JliJnS_J
LowcFd№T H.F b4i I Lcwdixki, Ray 111 J Low,', Shcrmin L 1'4 Lowery, Andrew IM ljfiw-егт, Manrli.i 115 I owery, Ru^rrf L4S 'Lowry, I. J. LI
Lucu, R-*lph 31
LugoEU iH-i 1. 2ba 7fi, IJi, 150, 175, IB5, IM, MJIJUW
Lukas, 1’iul 7J
Lyddon, Mike 31H Lyon, Al«ce “9
\1riuU!lay Gurin If 2
MaeColl, Katherine 12.
72, Й1
MarGrervy, Olivet 168 Madder, Staven 182 Mun**, Farmck 187 Madatnr SulTe-^an
if# SuhTe Wan Madden, Cflnie' 93 Madsen, Virginia 204 \ 1,igjidiEj SjiL, Jr 1 4f J be AtdjtfL i ijj wd 2 Макй»Раок> hl MdkiM, UoMihy 154 ManuJitj^ Vabprir 32 “The Man ffxara
U.N.CJ..K-4 177
Tke Afjw triffc ihr Sye fhetii Bmfw we Rln&d of Gha&ffy Harr or
M .iu,i rd. Kill L'7 Mjn1cv₽t Dudley lift М.тпп. Sam 76 Mjnni.. Errors I8fr 1 j Midooux d# S*>t tmie^luh HWTfilO -*c МцЯЛЩЛ fl/tAlf LrflNJf Dfdd
MjJljiQfl uf I tt-'OJP /Ы 2, 107, 172
Vatu, Mick. 7f* MiiHKtti, (JcFvanJf 20fl Maravidi. VI ।fell a 170
1 aictuu, kliiih-tL 157 Marcus, RayniDDid T.
Ill
Marcus Richard $5 Marians, A.L. 128, 207 Мапип, IViul 154 Markin, Zekial Pb Markowic. Maria 52 Marley, hihrt 53 МаНиий, Giaffja 21,
S!
'-1 jrnrrt, Di vid Li I XI ar hil!. Keltj1 4fJ М.1гъЫ1, F G. 18 Mur Jia 11, (-rnrpc 73, 154
Marih^l, Sieve IL7 KLafiiEtac, AdLulli 5 4fi Manin. Dtjn 71,144 .Manin, kujuCniu- S Marlin-, braak ue
Gariiljiiii,. Мзппи Muniгц James 35 Martinez, JcSia
StJtiHnayeif ^8, 152 Marrinn, C hns 2J Mnrhnon, Richard 99 Mамс11i4 Joseph 111 MaKiarelli, Siefaftft 30 Mapefield. Jnwph 6.3 “MAU-i" 2D Mjaiiir^ky, Paul 1^5 Manon, Leltity 174 Masoio, Lnwell IP MaMarctsL,Aristide 64, PH
Mauink Miot^mn -MawDiaiJEii, Atiiiand 16?
Mathew^ 4 hum 142. 1+4
Ма[счOliver L97 Mairei, Bruni 12JP193 Ma nicli. Simone 2? Мл «fned. Hruward 1 Miirwcll, к к hard Lj5 Мил, Michicl S3 Mi лп. I li 'ihi'i I,’1 McBride, Ak‘4 17. 17.1 Mc< -ilhiiti, tJ.ii id 177 VkOnhy, Andre*1 Ik4 MuLartliiy. kevin 110 VkLaw, ClayrEHi 41 XkLlcilantL 5;im Da*i* 177
McCullum, Barry H8 McConnell । Sieve 2П1 McCrMxL?k. lui 145 McCoy; Steve 93 McLric, Scooter 158 SlcCranni, Cliaties 173 McGullt«ch, Ijn 6(1,, 194 XkEauhin, James id McEwen, I hmisli iOfl McGuvin, U.irren, JI, 19fc
Mctlowan, Dorrrll 174 McGowan, Stuart 174 McGrads, Din 5R Xk-Guire, Bryan
Mklud IH2 XlcKay, W.indj. 2fs, 185 McKe niir. |{l-л her itu.n 1D4
VkKtn-tie. XLiry J.
Todd 83 MbKintiofL, Мола 13ft McLorin, Robin I ‘ t) McLoud, Dimcsn 71 McLuirghlin, Thomas 129
XLcMiUtan, lan 2116 McPherson, Ht-srhcf 127
М.Лм-, tu у ь iThk.-n 202
Xlifltitrd. Ji^h 1l4 -Meeker. Ralph 541 4lrlt nikt, F‘iJl i^l Mcli^tr, Mkhwl 5l MtiiJcIlliFI, Hr iJilnFl 127
Luk 36 Mcrtg-Hua, I Io HP Merino, Juki 1 дпь Мб Merk, Frank 170 Mernlt. 1 hetcsii 18 2 Ил5*1д6^Ём1 109 Mrslfi;-, Je-inmnc 143 Metrann, Art 21 Metz, Lathy 201 Vkyrrs, Thons 25 Vlichalik™, John Eliar 93
Mitbdhi, laiicr 83 Midkif, Dale 132 Thi'	l/wftr 110
Mikels 'led 19, 2il Md Miwafasi 112 Millan, Al 177
242 Tndcx
Milhnd, Ray 50 Md! г DtK 2U2 _ \1: lip г, Marvin 14
Miller, Mirra 176
Miller, Perri 5У Milliken, dande
Ijrttjjid, ddjjdith
Milton, ILA. 71 Minemini, Giumi l **2 Ming, Pel V7
Mi ran J J, Orrttait 154
Miranda., Vrru.cn [ 96
Misch, David ! 15 MhIfmw uf Dr, feckyli
МЧ? /Jr. Drfijjfj Л^йй-jttfr
iMiTchdl, Garneron &8
Mck, Harn 180
Mokac, Zaker 155
Mohn л, JatrrtEn 7, 40, SI., 146,. 176
! J J 11 QPffliW J* (?*w wr TiLv Alum jwkri о/ Gufcmd/’iHjJa
Mundo 157
"The McmkejAi Paw” 53, 132, 168
.M obiter High 111 Mo«firF Hunter tee
ZuHrfjv й: Monger Hunter
Mans&rs IL5 .Mo4SJrof*fy 111 MtHttefiwne, Luigi art
Eastman, Сосгхщ»
Monttnegro, iasha 153
Мопгеж, Yolanda 162
Meirrlgpmery, к ft 128 Mrilitp''HU'TV, I t* 110, 113
MoTitEnrwry, Ray 2'19 Monty, Mite 1.9,1 Munds, Fhi.ibc'li 4" Moon, Kwon Yuuikg 9" М-югг, Duke 116 Mtiurc, i л к lx He 79 Миогс, Kiwnn 39
МиОГе, Kn.jgcf 161
Мок Land, Mancan 96, HS
Morell, Alicirc 133
Мхитепп, Luis ] js* 124
Morgan. Read 157 Mn-T^hrn, John 72 Мл-гпюп, Hill 52» 203
Morrison, J.L.D. 169
Morion, Roy 24
Mosley, Bill 123
M^tuw, Jipn 21
MrtWilusJ. Jiihn 65
Mu-zarowiky, Snndrji 123
/,»? AlrTIfTif' inticwir WEE1 The Sndkf Perjpkjf
Muller, P^dI 18U
Тбс Мьдеияан uf LlW fjltjmjEo 88, ill
The ,Ми#?иму 2
Jhr Urn'i Hand 24
Е/ Afaadlo d? Jfrs глиет-ros see The Land of the Dead
Mwпег<щ .p^ifeTTTirfet see
1 hr Cwrte rf rhe Driii
Pr*OjMiF
Матауапн , f*oe 61
Murphy, Rn-innt 169
Msrphy, Dpirn 2Л5 Murpli>, MiL-luri S.
167
Мигглу, ВятЬагп 168
МшПГЛугК.  alirdihll 4 I, 42
Маттау» Philip 57
Muser, Wdh 70
VtufJrrr 11.3
,M'i buyff.nMd's Rjtt
X 12, 93,114. 145
“My £omhic Lovm"
10,114,115.115
Мад, Miduei |9$
Mpcn, Pa blent 196
4fldeaUi Diana 1H1
Njll, I JF£1EL 34
Nagle, Kevin 93
Nakashima । Ъек 101
Nalder, Reggie 50
Njuee. Jink |.N 2
Napulrs-, Prftf 127
Nasday, 1'j.uI *i?e
Moiiuu JaciBim
Natlun, Kubect 17C
Narhjrk, Terry L6J
Nc.il. Тц0 2b
Ntlibn, Ed 25
Nelson-Keys, ^arhofty Ш
Nrfbr.HiHjrfd 116
Mcwrojtf see £r.f?ihie 5:
.Rfwew^e tyf the Нуий nf Usher
hievrrtse set ZortW fr Йетчпгкг о/ the Hrrusc nf Vshfr
NfwrlL. hiephen R 120
Neuman, Chafles 21.1
Newman, Mrl^ta 129 Newman, Suiniid Я9 NfwriHi, Cyrtdi 104 Newlcili, Xlargjc Ebdrii 125
Newton* Peter 6te Mj? ьа-сгиг, Aristide
Nice, Sidney 2^5
Nicholas, M.ipfin. А11И til
Nichol^ Вт in ISO
Nichols. Nichdle 167
Kkodcmus, Ёугпп 2A2
Nrcolosi, Al 96
INidten, IcflKe ЗЙ NiETitda. Juti.iiii. 199 The Nigfal Attdy C*twe iHi^hi? see Prjrf of Night
Л Nigfrf jn йе t Mir Оле Diirk
Ntjpii/ Life 117
Ntfhf (tt АлмЬк see NijfAj of Йе Living D®id(196S)
Ntght rtj ihe Я urid Dead see Гогн/у of the Ulmd Dead
A fght of the Ufond < w/t ere Nrgh t r?f thr .bjdjpjd1^
Night tif the Г-tntrr 13 Night ui thr Creep* 117 Wijfljjf oj Day of ffce
Daipn ofjhr ion ttf tfr< ВтгДг- cf RriMTfl of tfre .Aet^i^r.° uf j6«-Tittup <jf rhe Aiiadk of the Et'r 5'tirJdu f tiellbtuuai Nedj-kj/-fHg iiftftWJWJFrOdJ LilJ-krfg Dead11 i'jn П 119
Nj^fcr iif Йг Е^агЛ < alt sec Nijt^fr of the SeaghUs
Night nf the f-ir*h Eatrrt we Nrgbj .nf the I iir. /ng Dead
index 243
Ntg/jT trf ihe Living bread 12D
Nigfrf of the Ewing ПлгЛ<1Ш| 3, 6. Л S, 9, It. 13, 33. 41. 43, 44, 46. M. &6, $1, Я 7, 41, 94^9, 101. 1Q3, 11^ 120h 121» 142, U3,161, 171, 195, 2U
Atjchr c?/ jfcr J D^(199D| 123
Кщй/ of the Sfagrdii 123, 172
1>< Ntgfrr с/ thf burner rrj 124
Nj'gfti of the Wehrmacht Zumbtts klc G'rtJ^wJj 693
NigJbl г*/ tbt ser The Night of tbs ^^crters
Night of the Ztimbret S, 125, J 93; we also £rotfc Nitha *d rhe
69 J
№ght uf fhr Zora Акт П и£ Сожим 6^3
Nigfcr 5fjr—Cjddcii of Eieetra *™ War of jfjr Zofnbit1/
Nifcbi Walk «.г Dsftf fl/Nr^r
143
Nj-Jf^rwf JFf wf City of т/if lijlfcrra^ Led J
NijfA/wjFT City see 'Crtr trf rhe Walking □rad
4 Netware pit Elm ifrret 54,15h
Ninroy, Leonard 213
No pto/d'iwF H до/no fie ios ?*ги.тгии Jsce t et Sie^pittg Corpse* Г rr I ,j iVcn ir.tr de la "imtrftf ciejd see Tofflifrj of rhe Blind Dead
Ls N'odre de hi bntfoe кг The Nligbl of the Ьмям
La N'ache de hi gaura-tas see Nrgta of the ieagalh
La Nbefee del Ьн^ке maldilo s« Hlhtof u/ the Zirmfav*
La Noth# del terror Cargo $Et TbrtlJhS of the Hinid Dead
Noland. кейчт! 15ff Not л drve prfifimre it 5nnmi det morti see Гet Steeping Corpse* f ie
Г.41Г5ПГ1Г?, Van 1<S
Nhttfb, William J 114
Nttfih, SicvLLn 157 Xiiivb 6y Norf/rtcif 47 £d Vijfft det	Hfct
Frank h'rjfftld of fire Luang Dead
Lj Nfjttc ertritchr dei mOTtf pu'imn Set EKrwif N^ts trf r^t .UtW
i j Notfi det terror *tt itttfrjdi Crtiuird
Le Noitr crumhe det mdrft vii'entr wr Erntft Nights af the Living Dead
bicmiro. Tif«- 30 Krsty^nd, Гслнк ”*t Nirdfcr CiJoity of thf
Dead 127
i. J Nuj'f det rluilei fl fitter wx 4 Vwjw1 Afrjrjw.Lr the Г ri 'Jrtji Liejid
Nuflti, Miaiw-1 142
Nb^ Delartd 33 Nye, СяГГ>е 3S
ItakbEtd, 5inic£i 19£
*•
QiJSH й/ the Zombies 2.
B. 45, US, 2Ь
ОЪпплпл. Dsn 49, 78, 142,144
Obrcchr, Kaihi 104
□"Krun, DorbIcI 60 0'IWn, Keirin S- UD 0MDcaJudidi Ш 0чНагя, Brett Й6 (Jhtsjuki, Kcri^i IQb □"Keeffe, Mdes Iff?
Uiirri, hill "0 Oliveros, HJniiJu 4*J
Omaggio, Мяпв Кц$ЛГЯП. 16
U'.VLiUey, Рл 196 7he (Jrtftga Маи 59 Очи? Dart \tght 129 O'Nrak Рпет 60 O'Mikl, Piifick hlf CNcil, Itoben. 126 O'Neili. JsTnes 84 G'NriU. htflisri 206
O'Nedl Michael. ?5 Ordlana,. Ашрпчр K4 la O-ryris dr Jtw nnftrifM ц|^ tht?
Zombies
Lj &|ф4 dfi rtmrli s*e Jirtam of lifrr Zjrtt-brfs
OcJjHili, Frrduii.nil.r> 192
Orintby, Alan 32, iJ, IfiO
□гпьЬи. Any? 32, 53 OttaKte, Michael. 78 Gfo Огтря casidJo
dj NoFfmbfFj^r s« Вагат ftlwJ
ОтПп, Polo S7 Orlon. l*F[ff 113 Qi^i, Fernando 153 СЧтИ., Robert 63 Omonsu 1.1Ю t'acr. Tn-п 19
E1 iMIjj, Ron 7Й Pall. Anna, й] Palmer Gre^ 211 I'jlnicr, Grctdim 14 PiloLin1 Мазку 1B7 Fjfflk ri the ‘Irand-Sjfrer'-/;'rn I'rjjn ие Hijerar Lspr-rfS
f'jiibiM MT eJ rrjJMthrrr-tiffD see Ноггле hxpresi
Paoli, Ihonin 1,39 Paquette. Brace 96 Parrero, Jnw GorrHi 200
Pjiiri, MiUdrrJ S-1 Pj rke-r, Ttcy 1,11 Parker, WhIIjtJ fil Pir kinson, Andrew 9 5 l’jrMinik Elsie 2 РакнИ!», Jjcii i 1
244 Index
Ранопз. Lindfiitj' ?6, 14h
Гакя1еь Nadaih 207
FumIbt, Adrian 106
PniureJb. Etiraherh 20+
Rai-rick, |f»hn i?1 Pairick, Migjrl J йЯ
ГлЮТ JTfJt ГГГ1Л «far urnflr J4W.dfr ire The
CaJtfti i>f Ht V
Ги Mitin, Miiric HO Fur* r, Jurquclinie 13?
P^ClL, E >k ч|.ХП| “D&b" 32
Ркк, Brian И 2
Peek,, Geut g^e
Pfihiir, Ul^a 5r
Pfellictr, Pilar ЧЙ !‘tllunpaar Matti L?9
Геп-Лт Julio 7U
Peirizs Ivc-t, L>u.ha 47
Pcncmcf, Manus 94 ftndkrnn, Austin IM
Г^пПгу. John И 5 fcfliK Paul 169
Ptrseby, Maria Hfl ?r/5f»Fw/ery И 2
Pnirri, f rika til
Peiers, Gnirgi 206 ft’ierwui,. Nina 34
Petit, ViL-tnr 1-3
PfevEuri, Chtfck 17
ГГЙЙгц Ckdee ItO I'hiLlips, Kobin 16Й
Fiourtl,, Atijj 4 |
Picrocri, Pitre 1S6
Pigozzi^ Lukuau 170
Pilatu, )w 45
Plitgihino,J«#e 112 k Рип к Eye' 133
Pipet Bten 139 i'lnmha. P, Hr*d 14 I
Pihr». Mink 12?
Pi-ийра, Joe 51
Pin, kohrrr 209
'f  pf fhf Zomi-fcfM J, 11, П, 4 ft, 19, Bl
Ffair Nwc /нмя Dr^r* 4, 118, 136
FI*U, Ramtir! Ml, H6 F[acr+Juhft ill Flaydaa, Paul L9t5 Pl mnet Dunid 61 Гксипкь, !w;oti Г 203
1Чутр«>к, GtLjgc 211 Pot, Edftar AlEn 6 8 Pct. Rudiger III Pollak, Chen I It" PoUexien, ill Pollock, Gene S6 Ptiniilo, Rafael 5, 41 Porm. Juan Jlvsc 40 Pelion, Disk 23 p-nr.nnr, Gerald 77
PfipEj Плги 44
Рпйе, Dennis 63
Price, Lorin E, 7ft Pritt, Vincent Si', Я9 Pn^lnir, Marland 71 Prcielut, Pbd E17 PtOiky, Rubci'l 69 РхуЖп 50
Tsycbo 4 Gl^I i у 24
P>^riEiu^uHJd 11 'Oilman, bill IS5
Pup 11 lnb М*531ПЮ I '0 Purcell, Dick 9ft P^jrdtllTl, RdfEUJTiJ
Quarry, Knhcn 165, ’ 1169
Quiver ij/ tbf Cjntrrhiiii Wt Dr. Clifcbtri Af.D.
rjJAi urtuffhi .it twmJjmi ws TJj< Hi/Hfie fry rh<f CaiiF’ I'rry
Quiglei1, Liriaei 104, Hi
Quinsy. Charks 146 Quinlan, kjElktii l-rtS-Quinuiid, Uvira 41
Rajsch, Ajiljf 182
Rabal, Kranciycu 36
RM 13
Rado, Icrgc 152
Rabn. Humi 21
ftjiJm of ihr- Living Oi-uJ
Raimi.,, .‘мт 52
Saorjr nf thejitngie 210
Rsminx,. RjiuI У 7
R шьеу, Amu 55
Kind, Will 147
KjndalL Monica 40 Rjindnlph. Revtrlv 142 Randolph, Hi I] 6J
Rd^run BS
IM.ibt-m, Jjldh P4 Raspberry, Lirrv 94 Rusjimc*, Rad» 21 Kausdi, Ka$ey 201 Raven. Joseph 61 Rav^n, $7|irk J5R Rf3№ Mrut 49 RukcI, Ашоте;
Ray, E stHct все T^per ariza Н*эт
К лу, F-mJ (IL n IN, lfi9 Ray, О|л 171
Rayrtiutid, Richard 19J Rd -Airrmjhjir ?k 9, 12,
26, 28, 55, JJV, Rr-Xrtw«4№r ft tfEE
iiriih. tf R.e-,4ffmtirfjr Keuscjn, RJujdcs Jb3 Rebeca, Maria 200 Ls R^rJbcvj tit isi
тксгГоБ we Vrnjpeffwrf cf tht Zcwntaf^
Ktbttiifiti fit' fhe Head Wrinrrir ict Vrwyrew? nf T-iurrhief
RedHtdii, Urnnit 49 Rrd'ttft.'i Zbmfiiej 9, 11, 141.
Rend^Jtxl 7(1
Rcei, Eery Anne 1&5
Rcj^n, Nell 147
Rcfijn, PaujL±. 147 Re^a и, Famdi III 147 Гj	de* carrnibali
set Dr. fLwrcJbpr. M.Du
Recall, t'iem 29„ 3& ReLniper, Scncr H.. 42 Reinrhulcn L?ll i 193 Rei^ Whitney *4 Rrltmap. lirsni Ri'intnenly, Phil 7] Rendn-rt, Thurnax IJQ Rtnom, Gahby 126 7he 4ft+134 henJfljr J. jjii 10 R«t Jfl /'eiite see Urjc
Djr.t Nry6r
Rrtara at the lliittd Dead bec Reittrn vf Etti Detid
of the I vi! Dead HI, 171
In J I! * 245
A^rjdrtr л/ 'the l.ii iKff Dead B, 9, IL 25,1& 41, лв, 7Ц 1C14, IЗЯ, 1ЯК, 140,142. ]44.
19 1, sec лЛгш AL"fjw,j(r п/ Efrl
Rfttff,?j о/ /frv Living Wfjif TjfT П 9. 144
Kc.n л <if f/?i? 1 fi'rnjj Ejtjdi'jHiin io, ns
fletwri uj the Zombw l+t.
finvrwjfr rtf tire Пела1 м?е ZfJ^r
К of jJm EmJ Dnjd see flrfnm of the Emi Dead
Лгттпе? of (fee I-K'rftjf Dftirf «e CjWIJrert £<Ьй«Ы11 rLjy айОк DcjJ Tfcwjr
Чегему yf /Jlfrrbjrj ЯСЕ Ffrihtftrr
fifi ечу/ tif ikf Nfrdi 182
fl eve^gt tf itream-rng EJz.jd see Alts-of £i jJ
ft ftvtrgs , >f Jw Znm^tr 147
Я of lfr₽ Zombies [1*43| 2, ft, It LjS< 14S
Ясч^г - of ihr 2^ffrhtr$ Г1981} 149
Яедамй of Drerd Он*9! чт V₽TTjfft#H£ie r.i,f the Zevtihici
R«ir I|F of ihr Dewater spe Am J/ j/ ibe ZonalfPiM
ХгепДт of lie Zomfree^ ISO
Rey, UarRirrt SO
Reyes., Pn НЗ Reynolds, hitkl )йЗ Rhirey Jean 91 Rice, Hi 11 180 Richard*. Grant h r Richjrdxwii, Jay 169 R ich-i rJviii., Et.ilph 168 Riche, CJiVt 30 Rickman, Allfai 93
Rico, I uis. (juiriranillj 112
Kidlm, Judith I2l.
RiKai’d. Manuela 208
Ring, SltJirtLi 1^3
RjHguerac, 1лгу 17
Riner. Иггиг 41 killer, Tim 9ft
Ribera, Ruhcri G. 41
Rit£ij, Alfredo 170
B.uai.hu Frank 69
Rijhhkiix, Matthew 14*>
Rribhins, Там? 14 Robins. Conrjd H5
Roberts, Ray 1жян1 IS Roberik Imltw Ilk) Rfiblis, Berry 2(h) kixhtlle. Boh 70 Tfee floefey Hom*r Pre-
Fwre S^p«! 1Я8
Rnthhlir’ig, ft.iniinlrh 215
Rogers, liaTnc 19, 20
RtjLind. Jranur :l£j2
Rinl I in, Jl^h 11-, 18), 207
Romm ftwtrrj iltnwJJ ъег UZdr nf rkv
RdHrtcfb, George 7, 8, 9, t2.13,2», 3»,42, 45.50, 51, JJ, 3S,e.t 65, ? I, 99, 106, 121, 121, (56, 14J, .159, IftO. 172, 1У4, 195, 19f[, 194
ttcrmrny 176
Rcwnn-li. Gianni Id (terras; 1 mricyije S7 кпги-. ГК'I Mr rah 25 flu*', Harry 202 Rene, Jam4F 34 Rvtc, Rcbeccn 202 RuiewijJ^ y Bchfey 49
RtHCrthj urtl, JdilJ'lhan
II
RiTbLtihetg, M.iv | Ftli .Wjusi, Srehio 14й UnsIkowLck, Pal nek 101 Rosa, Ojnirl «Jt
Ыгпзррл. Daniele Rosa, (m<lcri 42 Kussi' Jrfuari. Giacomii
99
H in la । iW, Н.1л 197 Rnrh, Glhl‘ 211
R<nrh.il, Cathy 9H Rovrck, Indy 202 Ray. Елрсгагиэ 141 Itriy^lTirh Roy 134 Rtiluni, hliehael 93 Rm bin । Renee Jn?| 55 Rvihuiiktrin. Rilhjrd .Is, 42,45. 132
Rutofj, Ted I9S |ijwlla Apturnn 211 Roiicli, VfCiliLk it 210 RuHLtLjohn ill, 12 3, 145, 182
Ru-Так, Книг 75
Saari анх VittH.» I41J
Sabm, Rettert 93 SalxH^Hi, Bob 138 Sjiochem. Dardatro 22, 72, 81
Siddow. F-iletn 200 SahaHkin. Plena 1h9 “The Soinrri 161 St. Jacqirw. SUrymCKad 182
Ssifti Jflhn. AnriHrc 22 Sj i in Ju*? , Erie 12Й Sb Mkchiicls, Michael 177
Salacjr, Alfred Ahi IJ 41 Saliba, Joseph W. 153 Surlktiw. Sidhic} 99 Safrhiiw*, Мш 30
SjIyes. John 44
Ьлпрыта, Rcrbrrl 116.
149
iancha, I etniindo 141 Sanford, Llaaald »5 ijH^iireJEj sec Zcim&te
[L. l-ulcii
1.1 Snnm- SR, 9-S, ill, 153. Ш
SflirJh JrfJ plwi Ргигм .t6< MnMfen 152
jirtd Bfttr n^itwnrj ш rhe Ljud t f jejJ see Tie J jji</ of ibo Di-^d
SdJlto ечггГг+г 1л mtifiia ледгй 4ёк SdMii А'Л-iMdfjc fcj Srmfri erJMtrj fos jrwrrhil?J Wt (FTF-rSIKlFH я/ the ZtJFwtofг
24h Index
£f Sjn/i? *rj d de км mNCrtt» wr Dm i Jf-w! of tbr Deac/
Ь-JS. JlLjt J? AGjpC
H8, 153
fs. ths Zombies set Гмиодыс/п o/jbe Zom&res
v B/jMf (jtm fti (•.{•Jftrtl ins mnrwtraus RW JdFTfO Шм UtfHlOi? OSflPW'T f£v iMowjWft
$ай!й*ь Joee Angel 123
Sirahdn, IkTin 193 $1гГдпсЯц VkucelLn lft£
£.piana,Tu rj j s
SatArl д Ssi/fJ/fJffi иг
Zumbitf of th#
SfrmrMftlfVn1
Satie lx. Hjiry 44
Saunders, Cbdjrlscs LSI
Saunders, Wollgjjip. S..
12W
SjvjIjs, Tdly 7J
SavinL I am 43, 53,123
Scared 73_ 154
Scearcc, Rtttfvr 2<X> Schitk, HlriiT 165 Sehmnclleq David 116 Sdimnel | er- Gary 145 SfhnHBF, Агп<]г^лч L’Mfl Schnarre, McKrtiLa 187
SchntEm, Gerald 26
St.ban, Kyn 921
TT’lZ £rAi! jJ TAcw Ate A{y firllfl i« Zumbitr High
Stbinn it, Vl.uk M S
SbHi.t^rdn, Mbtluirl 129
St-hwacel, Score 133
SclavL Tuiaiuc 30
5л>сФ^1кч1 o«r Zombw
JjJJarf 154
Score, George J41
Score., John 79
Srott, Linda Gaye P7
Si'ari, I ix;ihrrh 154 Scon, Rotwri I”?
Seabrook, William 2
The .fccvqJ 1' ^rtfrag see
AtrrjJ,ai*T nf Fvit
T"r Th 1 ref ttf Лл Orft^f it V Dft Oriuf S itfljrF" гСГт'ь
F.I Sttrefudfi Dr. От/of see Da □r/ojfj Мол jfer
Sekcly, Sfevc 14 h
Seiko, Wkrrcn II
SrjsnHijirJ, 'G&jitpp 93
Seppala, SlLu IУ9' Tht Serpent tind f/v £лл£о№ 155
Tfet! Seww BnstWri jHrtf	Я«
77w f pTti?w d n/ ribe S?f4*ff (t olden IZjjt?-ftirti
Jmw*i Doon of ЯчМГ^ spe Thr Bfifririti
SetiUOi Cijfifbcn +0
Ssasy Mrgferj t/ tbf
iff £rntr< M/f J’fs fif the Llinrr^ Dcjji
Shah, K( i±hrij 7ё SJ&jfrks 7.157 Slunnon, M-irk M Shapiro, Bevedy 173 5hartvic, Mielud 5.5
Dedd IL 153.
202
Shaw, Kun Run 147 Shavi. Rjnfc Ю2 Shearer,. Harr) 5H Shrcn. Manin 106 ShccFi, Tbdd iH.K201, 202, 209
Shell, Turn 169
Sin it, Chan 1D2
she nJ ,i|, Margaret 167
Sherman, Gary A. 49 ShclnliLh, ] JiniiLrd 4J
Sherman, Robert M.. 35 Shermrin, Samuel 23t
SlnFUJ.ii, Т«еы. 1J0
Ship cf Zambtes *,££ Йиггог o,r thi Zofli-ibf£
з^е
5^,-* Wiiaw 2, 7.1Я 70,144,159, 207
Stoonr t jrero't 55
Sihivrlc. Max 32 5^rjfrj.i?i'h	J 61
Shu^rtl, Rsinaid 49 *Siha&’ 1*1 Stikiey, DJ. tfiO Smglrr, Hdl 115
Sjierrt Dt’di/* itt VfMiiloo Iihmi Silliphant, Kebart SiIvj, M.iria 1?1 Silver, Ala in 14'* Silverman, Jriiuthan 1 A
'Hafecmdi, ML 21 jMlHCmn. A. EL 155 " rhe Simpsons " 9, 51 StnclaiL, John 21-П Stndair. Slephen 4 5<rx₽;h. Anam 7S Sinirlwut,. Pa isla 21S Siadrn^E' Carr 37, 91 Sipling, Dean 95 Sir lanreht 9т Suraa, Втувп 41 StiTervr Carrdlri 43 SktuftCL, Anita J64 Slate, Jcrekiiv 54 Smedley. Rjt hard 24 Sri ic I Lal an, FcKer HI Situfh, LI$J 63 Smith, Mike W5 Smith, Ycardly 5if J be ^nwfcf Feo^ile J 62 Snare, TilliflTii 164 Srijtkr. Ma nJ 34 Snydfr, Siizanftf 144 Soavb, Miehclf 3l) Schley, Ellen 95 Sokunn,,] nd 167 Solar?j, GclEirrtn
Mjfiihei 4h, 1.52 5ollf Sorvo'CAT 69, 164 Solo mon. Brace 117 Vimnifr, Like 21 Siirftlow, S.!'. HU] Soncv, Michad 69 -Sodih Park* 9. 133 Spaak, Agnti 61 5pd€f Zo?R^iej see Th?
A4fn>Zombirs Spalding. Нэгп 63 Speight*, Leslie 129 Spen«r. E>as id n3 Spera, i hue к 215 Stabler, Sieve lt№ itnpcimli, Ivans ISfi Stacey, Pjitici* 5Edder, Pete.т 112 SEjpkl'nfd, йену 2УП Siipkrnn, Dan 83 Stark, I’hilip 133
Steel Ice, К iv Решил 4, 86, LU
Kjthy Jt'5 Sctde, Barbara 170 Stede, Buh H4S SrelL, Wiihim Calderon 41
I шлапи 141 Jift P7 Бимепш, Jim 154 Sir рИепмт, Dnuah 206 Stem, Dehnnah 127 Stctcm, Anu.eln JP SEeitiri, Finnic 169 Srewjit, Miry i47 Stewart, Mr I 2Я Stewm, ?4jiA 2M Sifh/iti, Rohui Ju2 Sunlitz, Hugo 36. 200 SiHiLkman, Paul 5У Stoddard, WdJjaift 206 Sioddcn,. Reltf 202 Sto-ddcfk, Nick 2U2 Spilrttfj, Ben 113 $№№. LJorwrby 15H Swine, МяГт U i Srorry, Ray R3 Skmto, С»д1е 148 Stt-Hiuh, Eric 133 Stough, Riy 4,1 Stuun Don 16fl Stal'd n, Jerry 162 StFriWiJif Т^г/ ЛС krknJrji-i DjM *f
Siffith>rd, Willie. Jr, 26 SuetME. Etussrll 121, 123 Strickler, Jerry 82 Stroppa. Daniele IW St rye id a, Mack 65 Suarez, Carlofl 9Й
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Leeches see T6r ^jch Dead
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I.it'rnjif a nJ Нсдодне Atix&J-Up
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