FLICK

UK, 2008, 95 minutes, Colour.
Hugh O’ Conor, Faye Dunaway, Liz Smith, Julia Foster, Terence Rigby, Mark Benton, Michelle Ryan, Richard Hawley, John Woodvine, Hayley Angel Wardle.
Directed by David Howard.

If you told somebody that you were going to see a zombie film, a black rock ‘n roll comedy with Faye Dunaway, you might be not surprised that people would doubt you were telling the truth. However, this is the case with Flick.

First-time director David Howard (who made some documentaries as well as portraits of film stars) has a fertile imagination. He invented this zombie story and wrote it, relying on the influence of Roger Corman and the B-budget features of the 50s and 60s – and using a visual style that featured in Corman’s Edgar Allen Poe adaptations, especially in use of colour. He was also influenced by more recent directors, especially those who were interested in graphic novels and comics. He employs some sequences in the film which are the panels of the comics themselves.

The film is a revenge film more than a zombie film. Hugh O’ Conor plays a young man in 1960, ridiculed by most people, a good dancer who loves rock ‘n roll and simply wants to dance with Sal at the local dance. However, the bullies come on to him and he branches out with his flick-knife. His nickname is Flick. When he tries to escape in a car with Sal, he crashes into the river and is drowned.

Forty years later, the car is recovered and he appears – zombie-like. He is bent on revenge on those who tormented him in the past.

Enter Faye Dunaway as an American detective brought in to work on the case with local officer, Mark Benton. They visit Johnny’s mother, played in her usual ditzy style by Liz Smith. The main villain is played by Terence Rigby and the older Sal is Julia Foster.

It emerges that Johnny is influenced by music, especially that played by the pirate radio and its deejay, Rockabilly (Richard Hawley who wrote original songs for the film). With the two police continuing their investigations and following through with the main villain, Creeper Martin, they encounter dangers themselves. However, the intrepid Faye Dunaway pursues the zombie unto the end.

Despite what might sound rather stupid, this is an intelligently written film, capitalising on a knowledge of films and genres. The acting is particularly good. The visual style is full of flair. Which will make the film something of a cult classic for the future.

1.The first film of the director? His visual flair? Narrative imagination? Horror imagination?

2.The film as a homage to those of the 60s, the times, the style, the music, dance? Social concerns and situations? In the United Kingdom?

3.A homage to the 60s films, B-budget, Roger Corman’s films, visually, colour, angles, compositions? The homage to the graphic novels and the use of the comic strips in the film?

4.The musical score, of the period, the new rock ‘n roll songs? Their being played throughout the film? The pirate radio? The deejay and his comments? The fact that Johnny could wreak revenge only when the music was playing?

5.The title, flick-knives, Johnny’s nickname, his use of his knife in the 60s, in his revenge?

6.The film as a zombie film, different, not utilising so much of the conventions of the genre? A revenge film? Police investigation?

7.The 60s and the introduction to Johnny, his wanting to dance with Sal, his shyness, stammer? The bouncers, the boss, letting him in? The dancing? The music? The clash with the bullies? Their laughing at him? The fight, slashing? Sal in the car, the detour, the crash? The newspapers highlighting the massacre?

8.The 21st century: the Welsh landscapes, the industrial city, the water, the night? The ugliness? The suburban streets? The Palace? Dingy rooms?

9.The car, its discovery, Johnny as the Living Dead, the confrontation with the guard, killing him? The music playing?

10.RockaBilly, on the pirate radio station, the literal ship? The voice-over, talking about the events of the past, playing the music, McKenzie? interrupting him and his reaction?

11.Johnny in the car, driving, going to his mother, her age, glad to see him, not exactly with it, her appearance, hair? His room, her wanting him to eat? The visit of the priest and his concern? Talking with his mother, the outings? His character, her character? Mc Kenzie’s visit and her being vague?

12.Going to the bouncer and his wife, their being in bed, the record shop, playing of the disc, their arguments, going to the shop, their deaths?

13.Creeper and his past, at home, his strict discipline with Sandra, his treatment of Sal, brutish? The Halloween party?

14.Johnny, going to the dance, their assuming that his appearance was a costume? Meeting Sandra? Skills in dancing? The upset, the killings?

15.Mc Kenzie and her partner, his role as the local police, in himself, his skill in investigation, not putting on the protective jacket? His death?

16.Mc Kenzie, Faye Dunaway, coming from Memphis, the Elvis story of when she was young, her injury to her arm, the artificial arm, her experience, going to the United Kingdom, partnering the police, her skills? In the dingy room? Going to the different sites? Going to Creeper and his family? Her vest, not being killed? The confrontation with RockaBilly? With Johnny’s mother?

17.Johnny, his shooting at the police? Mc Kenzie and her music theory, going to RockaBilly?

18.The confrontation between Mc Kenzie and Johnny? Creeper’s death?

19.Sal and Sandra, the confrontation with Johnny, Sal and her kindness, his wanting to die with a kiss, her loving support? His dying happy?

20.The intelligent and entertaining use of the genres – and going beyond them?