Der Tote, der nicht sterben wollte

Anna Robinson (Susan Hampshire) is on a hubby-less holiday at the beautiful Isle of Jersey, hoping for an escape from the routine of her dull lifestyle and perhaps a little more. She finds this in George (Frank Finlay), a brooding local who becomes her personal tour guide. The two instantly click and before long they find themselves in a passionate affair. She drops her old life and begins anew with George. Tragedy unexpectedly strikes, leaving George dead and Anna mourning. Her commitment to her new lover is truly put to the test when George inexplicably returns to her.

Fred Burnley's "Neither the Sea Nor the Sand" is a somewhat successful romance/horror hybrid. It's a bit too heavy on the romance for my tastes, though the relationship between the two lead characters is always believable and never descends into complete schmaltz. I would rather watch something like this than, say, "Ghost," which may have been influenced by this or the novel on which it is based. Another film I thought of while watching this was Bob Clark's gem "Deathdream" (1974). George's restrained zombie/ghost is akin to Andy, with a blank stare in eyes and a deep pain in his voice. Fans of modern low-budget horror may also notice some similarities between this and "Zombie Honeymoon" (2004.)

The main strength of the film lies in the characterization of the likable lead and Hampshire's performance. She plays her complex role with grace and dignity. I never got the impression that she is being punished for her infidelity or newfound liberation, which some viewers might think as the story unfolds. The second thing I appreciated most is the lush cinematography, which brings life to the sea as if it is another character in the film. The biggest downside to the movie is the score. It's effectively chilling during scenes of horror and suspense, but for much of the film it wavers between gratingly lovey-dovey and happy-go-lucky (complete with "la la las" singing over it.)

The film is never frightening, though much of it is unsettling. It does have the tendency to drag in more than a few places, but overall it's an effectively tragic love story with a genre twist. I think most fans of 70s horror would find something they like in this. The recently released Image DVD features a decent transfer and good audio.

Zombie flick? Not on your life. Certainly not like the tedious maniacal, blood-thirsty zombies that Americans are so fond of. It's the understated presence of the 'living dead' (animated by the spirit of Hampshire's love) in the shape of Michael Petrovitch that makes the film unnerving.

"We're so happy" opening lasts for 35 minutes - too long, but once that's over the film becomes compelling.

Lovely theme spoilt by a lame piece of artless sixties pop (Land rover on beach scene), jarring to say the least.

It's a shame that this film does not get much attention, and it's all but disappeared now. Which is a pity because if you allow yourself to go with the very leisurely pace, it's actually an effective little story. Susan Hampshire plays a woman who suffers such profound grief at the death of her lover that she somehow manages to bring him back from the dead. She doesn't do it intentionally though, and is shocked and bewildered by his seemingly miraculous return. Unfortunately, although he can move about he's still dead in every other respect, so things can only go downhill for poor Susan.

Filmed outdoors in lots of cold and grey coastal locations, the film is really a bleak love story and probably bored a lot of people to death. Pretty much panned by all critics on it's release it's now hanging somewhere in limbo, and other than a few TV appearances it would probably be impossible to see it now. A modest DVD release might help it recover some fans, as it's really not the failure it has been described as. Competently made and with good performances, it's a lot better than some of the other trash that passes for "cult" fan viewing.

Upon its release this was labelled by multiple critics as "undoubtedly one of the worst movies of the 70s", and around here quite a few reviews are extremely harsh as well. I can understand why people dislike it, though. I, too, find the film incredibly slow-paced, indecisive in terms of tone and atmosphere, and perhaps slightly overlong. And yet, overall, I found "Neither the Sea nor the Sand" strangely mystifying, deeply absorbing, and a lot more thought-provoking than any other movie I have seen lately. Bottom line, I disagree with the critics and cherish it dearly.

For starters, this is one of those really rare films where you absolutely can't guess what it's about when you avoid reading summaries or reviews. You can't derive anything from the title, and even up until halfway through the length you still don't have a clue where the story will be heading too. I sincerely hope you're reading this review AFTER you've seen the film already. The beautiful Ilse of Jersey filming locations, the hypnotizing music, and the devoted performance of Susan Hampshire all help making "Neither the Sea nor the Sand" a unique piece of poetry.

Anna is stuck in a marital crisis and fled to the Ilse of Jersey to sort things out. She falls head over heels in love with mysterious and philosophical lighthouse caretaker Hugh. She abandons everything for him, and they're happy for a while, but during a trip to Scotland Hugh suffers from a heart-attack and dies. Needless to say, Anna is heartbroken. So heartbroken that, the next night, Hugh returns to her. Is he a ghost? Is he a zombie? It doesn't matter for Anna since it's her love that keeps Hugh alive and they can be together again. But, how long and at what cost can you co-exist with a corpse?

It's the theme of many a horror movie. People cannot accept the death of a loved one and are prepared to sacrifice everything to bring them back. Whatever way they succeed, though, they always painfully find out that nobody returns as the same person. "Neither the Sea nor the Sand" is also categorized as horror for this reason, and once even appeared under the infamous video-label Redemption, but you'll be sorely disappointed if you expect decaying zombies or malignant ghosts. Gordon Honeycombe's novel and script purely focuses on the heartache of loss, the purity of true love, and the power of mind.

It is certainly slow paced by today's standards but is an interesting piece of cinema folk horror harking back to ideas in The Monkeys Paw by Jacobs. As others have noted there are some good moments. The soundtrack doesn't always work (the jaunty, groovy music expressing the good times only made me giggle). It is certainly a film of it's era. If remade, it would make a good short film.

Some of the reviews below seem a little confused...the main male character is Hugh, not George who is the puritanical brother, and Hugh is not a lighthouse keeper but works at the Jersey airport with another character Colin, who comes into play later in the story. Though the lighthouse does play an important part as a representation of themes in the story.