The Living Dead at Manchester Morgue/Review

From The Grindhouse Cinema Database

< The Living Dead at Manchester Morgue
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Possessing an air of English modesty and tempered, almost leisurely pacing, Living Dead at Manchester Morgue is a bit of a strange entry into the zombie flick lexicon. Even though it was helmed by a mostly Italian crew, it rarely reflects the surreal and manic features of torchbearer Lucio Fulci, instead taking on a patient, atmospheric tone that could be compared to the work of Amando de Ossorio.

This passive nature often provides the film with time to indulge in scenic views and artful camera angles. Its cinematography and naturalistic setting are quite striking, displaying the rolling hills and green fields of rural England with a keen eye for direction and an eerie feeling of detachment. Unfortunately, being a stickler for detail doesn’t always work out to one’s advantage. The visuals pop and the mood is right, but the zombie moments are few and far between, with little plot payoff and even less to say (socially, that is). It’s as if the director intended to make an environmentally-conscious zombie film, but really didn’t give a shit about the eco-system or horror cinema.

Director Jorge Grau does generate interest initially, but really takes his time getting anywhere pertinent. The general plot revolves around an antique salesman named George, who decides to hop on his bike and get the hell out of London for the weekend, hoping to spend some quiet time at his rural cottage. Unfortunately, his weekend getaway is cut short, when a reckless driver named Edna rolls over his motorcycle at a gas station. Since it will take a few days for George’s bike to get fixed, he scores a ride from Edna and unwilling heads with her to her sister Katie's pastoral cottage.

What is initially supposed to be a brief stop turns into a week-long murder investigation after Katie's photographer husband is bitten by a zombie hobo and police begin to suspect homicide. Since Katie is the culprit (the police believe heroin use gave her the strength to bite through her husband's neck!), George and Edna go on a mission to clear her name, eventually leading the police to believe they are members of a satanic cult behind the murder. This drawn out and absurd cat-and-mouse game bears little interest, especially since the police are one-dimensional and rarely act reasonably or sympathetically.

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While running from the fuzz and searching for clues, George and Edna become trapped in the catacombs of a church by the aforementioned zombie (affectionately named Guthrie), and have to fight their way out of his cold, dead clutches. It's a pretty fun scene, but you'll be amazed how long it takes for George and company to actually piece together what's going on (i.e. zombie onslaught) and what caused it (i.e. bizarre, experimental pesticide). Rooting for the hot-headed and arrogant George is also a bit of a burden, since he's constantly talking down to Edna and rarely does anything but further antagonize the already raging English bobbies.

The score sheet for such a mixed affair should be an interesting one, so let's be kind and start with the benefits. The use of minimal facial makeup allows the zombies to take on a decidedly more human quality, which makes them even creepier and heightens the painterly visual atmosphere. The score helps build a mood as well, consisting mostly of tubular sounds, guttural growls, and macabre moans. Even the few moments of carnage boast some pretty admirable makeup FX and gore, making the feature watchable and validating some of its reputation.

Now for the downside. Although the zombies are quite realistic, they're nowhere to be seen. No more than ten zombies litter the English countryside and they nary make an appearance until the final twenty minutes. Going for a sparse, minimalist vibe is understandable, but it just seems like Grau and the writing staff didn't give 100% percent on this one, lacking a lot of the heart their influences wore on their shirt sleeves.

Reviewed by Mdeapo

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