![]() ![]() However, I cannot understand why this would offer an advantage against the zombies. ![]() The zombies were originally contained outside the Royal Canal, but eventually breached one of the bridges and invaded the "In-Between" (land between the giant wall around London and the Royal Canal).Īfter this breach, all the bridges except one were destroyed. The Royal Canal is a moat at some distance from London and its giant wall. London has a giant wall around it, is safe from the zombies. Ironically, so gory was this film that it would not be released in uncut form in the land where it was made for almost 30 years.As I understand it, the initial setting of Pride and Prejudice and Zombies (movie) is this: This is a film which in many ways marks the passing of the horror baton from the British to the Italians, whose more visceral horrors to come would do much to shape the zombie cinema of the future. Basically a redux of Night Of The Living Dead (1968), the usage of locations in the Peak and Lake District regions provided a disconcerting counterpoint to the carnage and gore depicted. ![]() The Living Dead At The Manchester Morgue (1974)Īs Brit-horror’s golden age faded, an Italian/Spanish crew turned up on our shores, to shoot their zombie fest. No wonder that Askwith memorably exclaimed “What The F*** Is Going On Here?” 10. Visitor Robin Askwith discovers that Gough’s experiments in lobotomy are turning his “guests” into zombies, fed on a strange green goo. Thrill-seeking hippie tourists are sent by a shady travel agent (Dennis Price) to a so-called health farm run by Michael Gough. Whilst Brit zombie flicks had already served up their fair share of giggles, at least in Horror Hospital the laughs were intentional. The fourth segment, Wish You Were Here, provided a variation on The Monkey’s Paw – Barbara Murray’s wishes for her deceased husband to have eternal life leave the now zombie-like Greene in some discomfort, thanks to some work from the undertaker… 9. After a vindictive neighbour drives him to suicide, Grimsdyke’s decaying body returns to take revenge a year later, on Valentine’s Day. Peter Cushing was the tormented Grimsdyke in the third segment, Poetic Justice. Doctor Blood’s Coffin (1960)ġ972 was a bit of a banner year for British zombies in retrospect, and this Amicus portmanteau gave audiences two very different zombies for the price of one. ![]() These creatures are victims of alien mind control, and it’s worth noting parallels with Invasion Of The Body Snatchers (1956). There is a strong argument for this as the UK’s first foray into the form, since the titular professor actually calls the film’s victims “zombies” by name. back from the dead, rotting corpses, eating human flesh, etc…), the zombies in this list are a refreshingly eclectic bunch, not bound by such expectations or constraints. What’s also interesting is that whilst zombie films of recent times usually (but not always) stick to a basic template of what a zombie is (i.e. They’re not always in films which you might immediately think of as zombie flicks, either, and there’s a few films in this list I’ve been looking at in a new light. But, once we did get ourselves into gear, we produced more zombies from the 1950’s to the 1970’s than you might expect. It’s therefore not that surprising that Britain took a while to present their own spin on the undead. Yes, it would be fair to say that the zombie flick isn’t the first sub-genre that springs to mind when discussing Brit-Horror, and it’s arguably the one strand that could justifiably be considered a 100% American invention, albeit one with its inspiration and roots in Africa and the Caribbean. ![]()
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