Der Tote, der nicht sterben wollte

The opening scenes of this film - Susan Hampshire walking out to a Jersey lighthouse where she encounters "Hugh" (Michael Petrovich) rather sum up the mundanity of this fairly dull romantic drama. It looks good, they look good - but somewhere along the line, the story just runs out of steam as it struggles to stay out of a soup of melodrama. Of course the two become lovers, and of course she has baggage - a marriage that no longer works, but when tragedy ensues they must face reality with a fresh, and frequently, troubling perspective. Perhaps the book was more evocative, indulged the imagination more? This adaptation really doesn't. There is little on-screen chemistry between our two principals, and the obstacles to their happiness all-to-often come across as contrived and over-played with demons galore. Frank Finlay - never exactly versatile - probably has the best character as his rather puritanical brother "George" but the whole really doesn't equal what ought to have been the sum of the parts. It's slow, stodgy and rather weakly scored with a predictable and stilted dialogue that made me cringe on occasion. Some lovely location photography, and plenty of seagulls - but otherwise this is pretty lacking on just about every other front.

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.

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.

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.