By - 7 Mar 2011
"Being a wuss, I took along a cool, unflappable companion to this 1962 B-grade horror which screens with live music, live dialogue and live sound effects.
But even her nerves of steel failed, and at one point we clutched each other and screamed like teenagers."
By Janet McAllister
Read this review on NZHerald.co.nz
"The Herk Harvey movie itself is not particularly scary, being
more a surreal, suggestive take on small-town seediness (there's a
great close up of a creepy neighbour's beady eye).
Even I can watch possessed church organists and a zombie chase
through beautifully shot chequered light and shade without
flinching. But after an unexpected crack of live drums, we were on
edge for the rest of the film.
Admirably, Auckland composer Leon Radojkovic has resisted the
temptation to steal the show with distracting, self-involved
melodies. Instead, his new commissioned score is committed to
supporting the onscreen storytelling.
He uses horror convention as a springboard - high-tension violin
phrases and eerie fairground oom-pa-pa - and jumps to droning
double bass, loud electric guitar, and cello solos of epic
sadness.
The enveloping result - in our case at least - was
embarrassingly effective.
Director Oliver Driver has created an amusing live prologue, in
which the musicians drink booze out of mugs and the voice actors,
in 1960s period costume, establish a luvvie hierarchy by commanding
"tea, darling!" from young Charlie McDermott.
Once the film starts, who voices which character can surprise;
Bronwyn Bradley does a more convincing, less fruity young man than
Cameron Rhodes. Chelsea Preston Crayford's lengthy, sometimes
silent stay at the microphone, channelling her onscreen
doppelganger, keeps the audience apprehensive.
Shut away in his little booth, "lonely" Foley sound effects
artist Gareth van Neikerk gives an excellent exhibition of a past
craft, coinciding his own footsteps, key jiggling and branch waving
with those on screen.
We saw this at the Mercury Theatre, and its shabby chic and
small size were perfect.
The Civic will also have a fitting aesthetic, but get as close
to the stage as you can, to watch the live performers, as well as
the undead ones on screen. Exhilarating."