Hammer Films continued their dominance in 1966 with The Plague of the Zombies, a feature that, while not as immediately iconic as Dracula: Prince of Darkness, cemented itself as an important entry in the zombie subgenre. Directed by John Gilling, who also helmed The Reptile the same year, the film delivers a chilling tale set in a Cornish village, blending gothic horror with biting social commentary.

Plot Overview
The story follows Sir James Forbes (André Morell) and his daughter Sylvia (Diane Clare), who arrive in a remote Cornish village at the request of Dr. Peter Thompson (Brook Williams). The village is plagued by mysterious deaths, and the local workers are inexplicably dying only to rise from their graves as soulless, mindless zombies. As Forbes and Thompson investigate, they discover a dark secret—an aristocratic landowner, Squire Hamilton (John Carson), is using voodoo rituals to reanimate the dead and exploit them as free labor in his mine.

A Zombie Film Before Zombies Were “Cool”
One of the most intriguing aspects of The Plague of the Zombies is how it predates the modern depiction of zombies popularised by George Romero. These zombies aren’t quite the flesh-eating monsters we now associate with the genre, but they are terrifying nonetheless, with a blank, lifeless gaze and grotesque, decayed appearances. Hammer’s visual flair shines here, with atmospheric graveyard sequences that perfectly capture the gothic dread the studio was famous for.

Though Hammer often leaned into supernatural threats like vampires and werewolves, The Plague of the Zombies took the less-trodden path of Haitian voodoo. This decision gives the film a unique flavor, mixing occult practices with the more grounded horror of a small community gripped by fear.

Social Critique Wrapped in Horror
Beyond its zombie scares, the film weaves in a critical commentary on class exploitation. Squire Hamilton’s use of undead miners as a form of free labor is a not-so-subtle jab at the oppressive landowning class exploiting the working poor. The film’s rural setting and class dynamics evoke a sense of timeless exploitation—those in power using any means to control and subjugate the weak, even beyond death.

Hammer was never shy about blending horror with social themes, and The Plague of the Zombies proves that sometimes the real monsters are those in positions of power, rather than the supernatural creatures they control.

Style and Atmosphere
John Gilling’s direction amplifies the eerie and claustrophobic nature of the village. The misty moors and the decaying village set the tone perfectly, creating a sense of isolation and doom. Cinematographer Arthur Grant, who also worked on The Reptile and Dracula: Prince of Darkness, brought a distinct visual flair to the film, utilising shadows and the bleak landscape to enhance the film’s grim atmosphere.

The makeup and practical effects, while simple by today’s standards, were groundbreaking at the time. The look of the zombies—complete with decaying skin and empty eyes—has a nightmarish quality that lingers long after the credits roll.

Tying It All Together
As part of Hammer’s 1966 lineup, The Plague of the Zombies fits in perfectly with the studio’s exploration of gothic horror themes while pushing the boundaries of what could be depicted on screen. It was innovative in its treatment of the undead, laying groundwork for future zombie films while maintaining the moody, atmospheric aesthetic Hammer was renowned for.

While the film might not have the star power of a Christopher Lee or Peter Cushing, it holds its own as a crucial entry in Hammer’s catalogue. More than just a horror film, The Plague of the Zombies is a somber reflection on the exploitation of the working class, wrapped in the trappings of gothic terror.

Hammer’s ability to elevate the horror genre, even with a modest budget, proves that 1966 was a year where they truly owned horror. The Plague of the Zombies remains a haunting and unique piece of their legacy—a grim reminder that horror can be both socially conscious and terrifying at the same time.

• Saul Muerte