Zeder has an odd, somewhat fractured reputation. It was released during the great VHS boom under the title Revenge of the Dead, which is a pretty accurate description, I suppose – but it was being sold as another gory Italian zombie flick – and it ain’t that.
You think it might be, with the opening – an elderly woman getting mangled by a shadowy figure outside an old mansion, “The third in two years!”, and a mysterious Dr. Meyer (Cesare Barbetti) forcing an obviously disturbed teenage psychic, Gabriella (Veronica Moriconi) to seek out a body buried in the cellar while all sorts of Amityville shit is going on upstairs. While Meyer brings the authorities downstairs, another shadowy figure mangles Gabriella’s leg. The body is dug up, a moldering skeleton – with Gabriella’s slipper in its bony hands.
Going over the few effects found with the bones, Meyers finds the skeleton’s wallet, with an ID card, revealing the corpse was once Dr. Paul Zeder. Meyer is astounded. “He found a K Zone!” he exclaims.
Enough about that, let’s go to the present day of 1983. (There aren’t a bunch of visual cues – at least to these American eyes – that reveal the opening was twenty or so years in the past, but we are also going to find that Zeder is that rare creature, a movie that expects its viewer to be smart enough to keep up with it) A young writer, Stefano (Gabriele Lavia) is given an anniversary present by his wife Alessandra (Anne Canovas): a dinosaur of an electric typewriter she bought at an auction. Stefano sets to writing, but the ribbon runs out quickly, and upon trying to change it, he notices he can read what was written before, by the previous owner. Something about “K Zones”.
Sensing a story, Stefano begins to trace the previous owner, and find out exactly what a K Zone might be; he visits his old college where his former professor (John Stacy) reveals that it was the theory of a Dr. Paul Zeder, who mysteriously disappeared years before. He felt that there are certain areas of the Earth where time periodically comes unglued, as it were. opening up the possibility that the dead could be communicated with at these times, and even come back to life. Absurd, obviously! Oddly, the professor’s copy of the articles laying that out seem to have vanished…
And thus, Stefano becomes more and more obsessed with solving this mystery, and overcoming the many obstacles thrown in his path. The prior owner of the typewriter was a priest who left the order when he discovered he had terminal lung cancer. The priest’s crypt is empty… because he has been buried in the grounds of that mansion, in a coffin wired with television cameras and motion sensors by a group headed up by the now grey-haired Dr. Meyers and an adult Gabriella (Paola Tanziani). The K Zone, as it turns out, is quite real, and the dead do come back – though not quite the way you’d want.
So, as mentioned before, what we have here is not truly a zombie movie (except that the dead have a tendency to tear off throats and enough body parts for video boxes to make false claims), but a mystery more in tune with a giallo than an actual horror movie. You have an amateur sleuth, his lovely wife involved against her better judgement, and at least one remorseless killer – all that’s missing is the black leather gloves. One piece of oddness I have difficulty overcoming is why the group investigating the K Zones feel that information is worth killing to conceal. A little more information or motivation would have been nice, but perhaps that’s meant to be just one more enigma to hash over after viewing.
Pupi Avati directed somewhere around 50 movies and TV shows, but his fame in these parts rests mainly on this movie and another, The House of Laughing Windows, giving him a reputation for thoughtful horror. Zeder, as I said, is arranged as a mystery, where we know more than Stefano, but we aren’t sure of the why of things. Stefano’s gradual peeling back of the layers around the K Zone mystery keeps the viewer engaged, until the final act when the K Zone busts out The Weirdness in all its glory. A lot of low-budget horror movies do this, saving all the money for the close (appropriately so), but in the case of Zeder, it actually feels like that is earned.
It’s hard to find, but if you’re in the mood for a giallo-inflected movie with more than a bit of the supernatural in the mix, Zeder/Revenge of the Dead is worth the effort.
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