Inept but weirdly compelling, `Nights of Terror' (or `Burial Ground' or `Zombie Dead' or `Zombie IV' or `That One With The Weird Kid That Looks Like A Small Dario Argento') is by no stretch of the imagination a great (or even good) film, but it for some hard-to-fathom reason it is oddly watchable, and even more oddly re-watchable.
The plot, of course, is an irrelevance. A professor investigating mystic Etruscan rituals (who looks oddly like the late comic-book artist Massimo Belardinelli of 2000AD fame) apparently triggers a revival of some local corpses in the grounds of his extravagant mansion, and said living dead then proceed to lay siege to the house. Meanwhile, the professor's randy friends are over for the weekend. Of course, rather than sensibly remaining indoors during the zombie assault, the professor's guests, dwindling a little in number, decide to actively let the corpses in (!), on the off-chance that the shambling horrors might just leave them alone. They don't. After that, there's not much else to do but abandon mansion and take refuge in a local monastery in the hope that monks and zombies don't mix... yes, the cast has clearly never seen the `Blind Dead' films.
Did I say the plot was an irrelevance? I may have meant that it's non-existent, but that has to be the secret to this film's strange charm - you don't have to worry about anything other than enjoying 85 minutes of decidedly decayed but rather endearing -looking Gino De Rossi zombies harassing the wealthy and their servants, for no adequately explored reason. You could argue, as film critic Jamie Russell does in his appraisal of zombie cinema, `Book of the Dead', that this film is designed to show an undead proletariat rebellion against the degenerate moneyed classes, a kind of precursor to Romero's `Land of the Dead', if you will. Well, maybe. That those naughty libertines are also harassed by zombie monks, in the film's best scene, might just indicate the moral and spiritual bankruptcy of their decadent lives, as might the strange relationship between Mariangela Giordano and her peculiar son, which reaches a ridiculous but highly memorable climax when his demands to relive one particular aspect of his infancy are met...
So, the acting is stilted, the direction is routine and the effects, whilst not without charm, are not what you'd call particularly convincing. Indeed, there's a virtual re-run of that famous eyeball scene in `Zombie 2', but significantly less traumatic or impressively delivered. So what on earth is my justification in giving this film (a very subjective) four stars? For one thing, director Andrea Bianchi does manage to maintain a decidedly off-kilter atmosphere of sleaze and morbidity. Even though the central characters have little to recommend them, there is something rather downbeat and doomed about their flight from the Grim Reaper-like ghouls. For another, the zombies themselves are sinister and characterful in their design, but still awfully likeable (here I am in agreement with the author Ramsey Campbell, who in a review of the film points out how much fun it is when one of them pops up from behind a hedge.) And most important of all, the film is a lot of fun if you're in an undemanding mood. Definitely one for fans rather than the innocent movie-going public, but if you've already cultivated a taste for low-budget Italian eccentricity, then give it a bash. On the head, with a rock.