Movie Review: The Plague of the Zombies (1966)
Synopsis
"The Plague of the Zombies," directed by John Gilling and produced by Hammer Film Productions, is a classic horror film that epitomises the British Gothic aesthetic synonymous with the great studio’s oeuvre. Set in the 1860s, this chilling tale unfolds in a small Cornish village plagued by mysterious deaths and a burgeoning undead presence. Dr. Peter Tompson (played by Andrew Keir) and his wife, Sylvia (played by Diane Clare), are drawn to the village when a desperate request for help reaches Dr. Van Helsing (played by the venerable Peter Cushing).
As the couple reaches the grim village, they discover that the locals are living in fear, and the reason becomes clear: the townsfolk are being turned into zombies by the sinister activities of the local squire, Sir James Forbes (played by John Carson). Forbes is dabbling in the dark arts, using voodoo to raise the dead for his nefarious ends. As the body count rises, Van Helsing and Dr. Tompson must unravel the mystery of the undead and confront the evil that fuels this plague.
Stunningly shot in colour and infused with eerie sounds, "The Plague of the Zombies" marries traditional horror elements with a contemporary twist relevant to the 1960s audience. The film cleverly uses themes of colonialism and references to Haitian Vodou culture, while also engaging with societal fears of the unknown during a time of social upheaval.
List of Actors and Their Characters
- Peter Cushing as Dr. Van Helsing
- Andrew Keir as Dr. Peter Tompson
- Diane Clare as Sylvia Tompson
- John Carson as Sir James Forbes
- Jacqueline Pearce as Alice
- Michael Ripper as the local constable
- John Le Mesurier as the village doctor
- Players in supporting roles which help flesh out the village and its chilling atmosphere.
Review
"The Plague of the Zombies" emerges as a notable entry in Hammer’s canon, showcasing the studio’s trademark lush production values, combined with an unsettling narrative that taps into deep-seated fears surrounding death and the supernatural. The film’s aesthetic holds a certain allure; vibrant colours contrast sharply with the grim subject matter, transporting viewers into a world both familiar and disturbingly strange.
One cannot overlook the film’s performances, particularly that of Peter Cushing, who brings a gravitas to Dr. Van Helsing that is both reassuring and commanding. As this character wrestles with the rising tide of the undead, Cushing delivers a nuanced portrayal of a scientist grappling with the limits of reason in the face of the uncanny. He is both a protector and a figure of knowledge, embodying the conflict between rational thought and the supernatural chaos engulfing the village.
Andrew Keir, as Dr. Peter Tompson, complements Cushing well, portraying a character who evolves from scepticism to horror as he witnesses the supernatural forces at play. Together with Diane Clare, who embodies Sylvia Tompson with an appealing mixture of innocence and strength, the pair form a compelling backbone for the narrative. Their chemistry feels genuine amid the turmoil, providing an emotional anchor that resonates throughout the film.
John Carson’s portrayal of Sir James Forbes adds significant depth to the proceedings. His character is not merely a villain; he encapsulates the theme of transgression against the natural order, embodying the perils of overreaching ambition and moral corruption. The choice to frame him through the lens of colonialism—using voodoo as a tool of power—adds a layer of complexity that makes his malevolent actions all the more unsettling. The film navigates this ambiguity skillfully, prompting the audience to reflect on the consequences of exploitation and dominion.
The atmospheric score by James Bernard is another highlight, acting as a character in its own right. Bernard’s haunting compositions build tension effectively, accompanying the visual elements to create suspense and dread. Combined with the high production values—particularly the set design, which captures the essence of a decaying village—the auditory experience enhances the overall impact of the film.
Moreover, the cinematography by Arthur Grant introduces the audience to a beautifully crafted Gothic landscape. The use of tightly-framed close-ups during zombie scenes creates a disquieting intimacy, while wide shots of the desolate village encapsulate its sense of decay and ruin. This visual and thematic bleakness is offset by brighter, more vibrant moments that highlight the contrast between life and death, adding to the film’s horror.
What makes "The Plague of the Zombies" particularly engaging is its meditation on life and death, skilfully illustrating the fragility of mortality. The juxtaposition of the vibrant, emotive lives of the villagers with the stony, unyielding nature of the zombies serves as a poignant reminder of life’s impermanence. It raises immunological questions about the boundaries of death and the ethics entwined in the fight against it.
Hammer films were known for their boundary-pushing content, and while "The Plague of the Zombies" may not be the most graphic of its time, it still manages to evoke a sense of dread. The undead’s portrayal is effectively unsettling; their blank stares and haunting movements add a layer of eeriness that lingers long after the film’s conclusion. The make-up and practical effects, while not as advanced as today’s digital offerings, achieve a chilling realism that anchors the film in a believable horror.
The pacing of the film is noteworthy as well, gradually building tension rather than relying on abrupt jump scares. By immersing the audience in the mounting dread surrounding Dr. Tompson and Van Helsing, the film ensures that even the quieter moments interplay with rising tension, leading to a climax that is both satisfying and horrifying.
However, while "The Plague of the Zombies" does excel in many areas, some criticisms can be made regarding certain aspects of the screenplay. The dialogue can lean towards the predictable and, at times, lacks the sharp wit found in other Hammer productions. Some characters feel underdeveloped, potentially limiting the emotional stakes of certain scenes. Additionally, the film’s exploration of its themes could have been more pronounced; at times, it skims the surface rather than delving deeper into the complex issues it hints at.
In conclusion, "The Plague of the Zombies" stands as an enduring classic of British horror cinema, rich with atmosphere, style, and elegantly crafted performances. While it does have its flaws, the strengths far outweigh the criticisms, resulting in a film that resonates with themes of life, death, and the consequences of human ambition. It is an engaging study of old-world beliefs clashing with modern sensibilities that continues to captivate audiences decades after its initial release.
Score: 8/10
