Italian director Umberto Lenzi may not be a household name, but he certainly made an impact on cult cinema fans with his output. His Nightmare City was released in Italy exactly forty years ago today. It could be argued that this film was the first instance of fast zombies, certainly predating 28 Days Later by decades. However, I wouldn’t categorize either film as having actual zombies although they utilize the zombie apocalypse framework. In Danny Boyle’s post 9/11 thriller, the monsters are vicious mindless plague victims, and in Lenzi’s film, they’re semi-intelligent mutated bloodthirsty ghouls. Nevertheless, both films obviously influenced the zombie genre. In any case, I enjoy Nightmare City despite it dipping pretty far into cheesiness.
The plot is pretty standard zombie apocalypse fare. An outbreak starts and spreads out into the city. Authorities, including the media, the military, and the government, bungle the situation and chaos interrupts routine as the general population is taken unaware by the sudden explosion of mass homicide. What sets Nightmare City apart is the energy lent to the action sequences by the sprinting ghouls. As they’re also able to effectively utilize guns and possess at least a limited intelligence, they present a different threat than the typical shambling Romeroesque creature. The film wields this unique aspect effectively, making chase scenes thrilling.
Performances are fine for this type of film. Hugo Stiglitz plays the stoic and capable newsman Dean Miller who is thwarted in his attempts to warn the public and goes on to search for his wife. As an aside, Lenzi insults Stiglitz fairly extensively in the DVD featurette included on the old Anchor Bay DVD. Evidently, Stiglitz was forced on the director by producers of the film. Portrayed by Laura Trotter, Dr. Anna Miller eventually reunites with her husband but unfortunately devolves into hysterics as the film progresses. She does what she can with the role, but as with most of the female characters in the film, she’s not given much to do outside of being damsels in distress. Other notables include Francisco Rabal as a dutiful army Major, Maria Rosaria Omaggio as the Major’s artistically inclined wife, and Mel Ferrer as the General who tries to reassert control over the escalating carnage.
Makeup and effects are a mixed bag. There are some completely amateurish elements like gunshots leaving no holes in clothing, not to mention the lack of blood but there’s also some nicely executed grue such as an ax wound crushing a skull that spurts blood. The ghouls themselves look great with their faces and hands looking authentically scabrous and irradiated. Stunts are well done with actors rolling off of speeding cars and dangling from perilously high positions. The film itself also has that pleasingly sleazy look common to grindhouse films of that era. It’s a murky and lurid comic book palette that adds something unexplainable to the dread. Speaking of dread, Stelvio Cipriani’s score is creepy and memorable, layering more tension to the proceedings. Additionally, the production’s use of aerial photography, the utilization of a helicopter and a large military plane, and the final amusement park set-piece all make an impression.
While the plot has more than a few groan-worthy and head-scratching points, and Lenzi is shameless in his predilection for making sure female victims are disrobed for his leering camera, Nightmare City is a fun and kinetic watch. Briskly paced and concisely edited, the film’s indefatigable mutants are an indisputably effective wrinkle on the zombie formula. It might not completely work and the ending is a bit too wtf, but it’s a must-see for zombie film fans.
Michael Cavender