- Burial Ground
- Burial Ground: The Nights of Terror (longer title) | Le Notti del Terrore (Italy - original title) | Zombie 3 - Die Rückkehr der Zombies (Germany)
- Year of Film
- Andrea Bianchi
- Karin Well, Gianluigi Chirizzi, Simone Mattioli, Antonella Antinori, Roberto Caporali, Peter Bark, Claudio Zucchet, Anna Valente, Raimondo Barbieri, Mariangela Giordano
- Origin of Film
- Genre(s) of Film
- Type of Poster
- One sheet
- Style of Poster
- Origin of Poster
- Year of Poster
- C.W. Taylor
- Size (inches)
- 27" x 41 1/16"
- SS or DS
- NSS #
- "When the moon turns red the dead shall rise" | The gates of hell have opened
An entry into the Italian zombie horror genre, Burial Ground (AKA The Nights of Terror) is unquestionably in the shadow of Lucio Fulci’s superior Zombie Flesh Eaters, released only a year before in Italy. The film features several shameless cribs from Fulci’s film, including a scene where an actress is pulled slowly into a broken window, face first. The film features little in the way of a plot with the bare minimum in the way of exposition before the zombie carnage begins. It opens with the spectacularly bearded Professor Ayres unwittingly unleashing a horde of shuffling zombies whilst exploring a crypt in the cemetery behind his mansion. A group of his friends (some colleagues?) arrive shortly after, having been invited to view his discoveries, and there follows a rambling sequence of events in which the guests spout inane dialogue, potter around the mansion and get naked (only breasts, of course) before the first zombie shuffles into their view.
The zombie make-up and gore effects are, for the most part, absolutely atrocious with some of the zombies not even resembling humans in terms of facial features and others looking like some Italian bloke painted grey with a few bits of bacon stuck to his face. There are some undeniably creepy moments and the sets are well utilised but the film is nearly ruined by the appalling music, half of which sounds like it was taken directly from a 1950s ‘space sounds’ record, with bizarre bleeps, bloops and other sci-fi noises happening every time anything remotely exciting happens on screen. One of the most bizarre elements of the film was the decision to cast a 26-year-old dwarf named Peter Bark as Michael, the 11-year-old son of Evelyn (Mariangela Giordano) who has some sort of oedipal relationship with him, made even weirder by the actor’s real age and facial appearance. It has to go down as one of the strangest casting decisions ever made.
The artwork on this one sheet for the 1986 American release, five years after the original Italian debut, is by an American artist called C. Winston Taylor, about whom very little can be found online. The Lost Video Archive blog has a post on the artist that features images of some of his other posters and video covers. In the 1990s the artist was hired to paint the covers for a Quantum Leap comic book series and a gallery of those images can be viewed on this site, which also features three images of the artist himself. Comicbookdb.com features a small profile of Taylor with the following mini-biography:
C. Winston Taylor always knew from a young age that he would communicate through his drawings. Fighting in the jungles of Vietnam, where he earned two Bronze Stars, helped solidify this vision. After graduating with honors from the Art Center College of Design, in Los Angeles, he quickly became a well-respected illustrator. His work has received numerous awards and he served as the president of The Society of Illustrators of Los Angeles.
The other posters I’ve collected with artwork by him can be seen by clicking here.