Living Doll

This British production is an intriguing entry in the rather small necrophilia category of horror films. Instead of a relentless assault of slice and dice, what we get is a somewhat playful script that handles the macabre topic quite well. Both Freddie Earlle as the morgue manager, and Ertha Kitt as a nosy landlady, provide some welcome dark humor. Mark Jax plays the medical student whose infatuation with a hospital flower girl goes way beyond normal. His obsession eventually leads to stalking, grave robbing, and murder. Kate Orgill is the lifeless and slowly decomposing corpse who speaks telepathically to Mark Jax, from beyond the grave. The catchy tune "Living Doll", and general lighthearted chemistry, make "Living Doll" one of the better films of it's type. - MERK

Living Doll, the final film to be produced by exploitation legend Dick Randall, is reminiscent of Jörg Buttgereit's infamous shocker Nekromantik (1988), only it is less grim and doesn't go so far as to feature corpse sex. That's not to say that it would make a good date movie or is something that you would want to watch with your gran: it's about a very disturbed individual and contains some fairly revolting scenes.

Mark Jax plays medical student Howard, who secretly worships hospital florist Christine (page 3 stunner Katie Orgill). When Christine turns up on the slab in the hospital morgue, having died in a car crash, the already mentally fragile Howard is pushed over the edge, digging up the young woman's corpse and taking it back to his grubby apartment, where he imagines that she is still alive, dressing her up and holding conversations with her. As the days and weeks pass, Christine starts to decompose, which causes Howard problems with his landlady Mrs. Swartz (Eartha Kitt). And then Christine asks Howard to settle the score with her boyfriend Steve (Marcel Grant), whose carelessness behind the wheel caused her death.

Although not played for laughs, there is definitely some very dark humour in the film, and the resultant uneven tone does lessen its power to shock. That said, there are several moments that are still quite uncomfortable viewing - the autopsy of Christine, the pathologist making an incision to her neck and peeling back the skin; the murder of a transvestite, with a graphic throat slashing; and Howard kissing the putrefying remains of his beloved - most of which were cut from the UK VHS release by those lovely people at the BBFC.

Overall, the film is nowhere near as powerful or memorable as Nekromantik, but if you like your horror dark and twisted, then it's definitely worth a go.

6/10.

N. B. Set in New York, but mostly filmed in London.

Here's a premise for ya: A morgue attendant, who's obsessed by a beautiful girl, soon finds her on the slab after a car crash, he takes her home where he creates a fantasy world in which she is alive and co-habiting with him, eventually leading to his total mental breakdown and destruction. Sounds intriguing doesn't it? WRONG! This film is a perfect example of a fair premise let down by totally uninspired film making. Instead of an interesting character development plot, what we are presented with is a film based almost entirely on a man coming in and out of his apartment, making excuses to people, and occasionally talking to or hiding a phony corpse. But at least the performances carry it through right? WRONG! Some of the most mind numbingly poor performances by any actors I have ever seen (just check out the girls meathead boyfriend) and not even in a laughable way, just in a truly 'couldn't care less if they all died' kinda way. It says a lot when one of the stronger performances is from Eartha Kitt! If you really need to complete guy falls in love with corpse film collection then do yourself a favour and fast forward most of the middle of the film, only the mildly deranged ending is worth the entry fee. Though it does have a great closing line. File under: mild curiosity.

Howard, a New York morgue attendant, falls in love with the beautiful Kristine but when she dies he digs up her corpse, takes it back it his grotty apartment and treats her as a "Living Doll". British director George Dugdale had previously made Slaughter High (1986), a film made in Britain but very poorly and unconvincingly set in the USA. He's done it again with Living Doll, there are some genuine exterior shots of New York but the majority of the movie was shot in Britain, using British actors who couldn't do an American accent if their lives depended upon it. I guess the makers were aiming for the lucrative American market but in doing so ended up with a film with terrible acting. Mark Jax, who plays Howard, is as flat as pancake, Eartha Kitt plays his landlady, one of the very few interesting characters. Glamour model Katie Orgill plays Kristine and spends much of her screen time naked. In addition to the bad acting the pace is slow and the microphone makes at least one appearance. The decomposing make up for Kristine is fairly decent. My UK VHS is cut by 13 seconds but I won't bother to upgrade to an uncut release. If you can stomach it watch Nekromantik instead!

Living Doll was the last in an unrelated trilogy of British horror films made by legendary exploitation movie producer Dick Randall. Its bedfellows being Edmund Purdom's ode to Santa Claus abuse, Don't Open Till Christmas (1983/5) and Slaughter High (85) the only slasher movie in which a person is killed by drinking beer, it was also Randall's final work for the cinema (he died in 1996). Unfortunately Living Doll is the ugly duckling of this eccentric batch, but at least the lead actor didn't commit suicide this time around. Living Doll tells the tale of Howard, a medical student hopelessly obsessed with pretty lass Katie Orgill, but when the said girl appears dead on the slab, a grief stricken Howard takes her corpse back to his crummy bed-sit. While captured in the spirit of romance, he fails to notice his true love is quickly becoming a rotting corpse, at least he does until the movies weak denouncement. Like Slaughter High, Living Doll is a British film that goes to great lengths to convince its an American one, mainly by having a cardboard cut-out of the New York skyline as a prop and a days worth of shooting from the real deal. Presumably the film is meant to take place in the little known English quarter of New York! Living Doll falls inbetween being too lightweight to live up to its gristly potential, while being too adult to carry a `romantic horror comedy' tag. The lack-lustre script was apparently jazzed up by Randall but to little avail. To say that Randall's tried and tested exploitation movie approach locks horns with the films aspirations towards that droll mainstay of the British film industry, the romantic comedy is like saying that Four Weddings and a Funeral isn't Love Me Deadly. Whats left is diluted Randall sleaze with moments of bonesaw gore, rotting corpse effects and the casting of tabloid bust model Orgill who gives her worth by appearing as the world's most topless corpse. Amidst sly moments of humour, namely the (Sir) Cliff Richard connotations of the title (the end credits serves up a cover version) and a frankly bizarre cameo by Eartha Kitt. Still at a time when the words `Dodo' and `British Horror Movie' seem synonymous, it would be nice to say Living Doll is more of a heavy hitter. Unfortunately its not, and certainly fails to provide a decent epitaph to Randall's wild and outrageous thirty year career. Dust off your copies of The Wild World of Jayne Mansfield, Pieces, Frankenstein's Castle of Freaks or The Bogeyman and the French Murders and remember him that way.