Fortress of the Dead

Twenty years after then end of the Second World War an American soldier returns to the Philippines to visit a friend. Uncomfortable with the fact that he survived while 37 friends suffocated in a fortified bunker because he couldn't get help, he returns to Corregidor to try to put the ghosts to rest. Eerie ghost story more akin to an extended Twilight Zone or similar horror anthology series. Helped enormously by location shooting that puts you into the ruins of fortress and the surrounding village this is a film of slowly building tension.This is a horror movie that doesn't look or behave like any normal horror film, which probably explains why its not better known. More short story than full movie (it could probably be improved if it lost about 15 minutes and was trimmed to an hour) it none the less keeps you engrossed and watching from start to finish. Its a small gem that's worth searching out (though make it a double feature night)

Don't let the low budget and no-name production throw you. This is a very effective and downright grim little thriller mixing military themes with horror elements -- always one of my favorite combos. Just the sheer horror of war itself is guaranteed to conjure up some things that go bump in the night, my favorites being the British DEATHWATCH from 2002, Michael Mann's THE KEEP (1987) and of course George A. Romero's overlooked THE CRAZIES (1973). It's a potent combo when done right, I'm surprised we don't see more of it.

What DEATHWATCH did turning the trenches of the Western Front into a sprawling haunted death house this one does using the actual former US military bases on Corregidor (I believe part is shot inside Battery Geary itself -- search the name on Wiki sometime) to tell the story of an emotionally scarred veteran who returns to his old garrison's post twenty five years later, after having fled under the stress of combat fatigue as a young soldier. Just seeing the remnants of the old military base is impressively eerie. The director chose his locations marvelously, the whole film is seeped with ill-ease and old rumors or echoes of men in their death throes as they were battered into oblivion.

Or, trapped below to languish & die in claustrophobic darkness. The film uses light as a motif and the darkness of the surrounding ruins is oppressive; You can imagine even the hardiest of men loosing their nerve and fleeing in terror. Our returning veteran finds that the depths of the vaulted keep is not quite as uninhabited as the local Fillipino army officer tour guide may insist. He even links up with a charming, innocent young local hottie who comes along on his voyage, and she's a good screamer. Though ultimately he meets his fate by himself, yet not quite alone. It is a very effective little psychological ghost story that just happens to utilize a setting with a rich history of horror all of its own.

The print I saw was courtesy of Something Weird Video on a VHS, apparently the film was made for television as there were spots for commercial breaks worked into the film's editing. And as a mid 60s television production you can nix anything like graphic violence or sexuality, here's a movie that works without it, with the whole production definitely having a Rod Serling-esquire feel to it. The B&W picture actually added a depth of creepiness to the proceedings though the transfer itself was made from a poor quality 16mm print. The film deserves better treatment.

But I felt enriched for having seen it in whatever form (and good luck finding a copy). Here's a great example of how tight writing combined with a keen sense for location work can result in a gripping little movie for almost no budget at all that can actually result in a well-earned nightmare or two.

7/10

This outstanding and psychologically perceptive drama, filmed in black and white with a tiny budget, is the initial directorial attempt by the work's writer/producer, Ferde Grofé, Jr., who ably adapts his screenplay into a stylized narrative having a pronounced bias toward mood development, its careful emphasis upon creation of detail providing a clear design with which a viewer may be engaged, while a great deal is properly left to one's imagination. Twenty years following the dying fall of the Manila Bay fortress of Corregidor to Japan in 1942, Frank (John Hackett) deplanes at Manila International Airport, in transit to revisit the heavily shell-scarred military site, met there by former Philippine jungle guerrilla and old friend from two decades prior, Joe (Conrad Parham), who transports the American Army veteran to what has evolved into an historic monument and popular tourist attraction, where he hopes to relive a combat incident from which he was the only immediate survivor, and a conscience-laden one, as he believes that he is responsible for the deaths of many comrades at the hands of Japanese artillery troops, because of his inadequate efforts to bring aid to those of his battalion trapped by an artillery shell caused cave-in within Corregidor's besieged Battery Wheeler. Accompanied by Joe and, to a lesser extent, by the officer-in-charge of the latter-day military reserve, Major Francisco (Eddie Infante), Frank is determined that he must confront the product of his obsession alone, and approaches a sealed door beyond which he is convinced are waiting shades of his former military mates as the film moves to an intense and suspenseful climax. The work is shot almost entirely upon Corregidor, and it is a shame that it is but seldom seen as it offers more than acceptable playing by a small but able cast, while top-notch direction, dialogue, camera-work and editing are all combined into a well-paced effort that will please most viewers.