The 1970’s was a landmark decade for the horror genre. William Friedkin’s The Exorcist showed that horror could be taken seriously. Just a few years later, Steven Spielberg filled theater seats over the summer months with Jaws. It was the decade that saw Halloween, Phantasm, The Texas Chainsaw Massacre, Suspiria, and Alien released. Ken Wiederhorn’s 1977 Shock Waves probably won’t make anyone’s ‘Best of 1970’s’ horror list. It may make the very select list of ‘Best Nazi Zombie’ horror films. This doesn’t make Shock Waves a bad film. On the contrary, Shock Waves, which has a small cult following, is an atmospheric, eclectic horror selection.
Before World War II ended, rumours spread of Nazi experiments in the supernatural. Years later, a small commercial fishing boat carrying several tourists sets off on an afternoon pleasure cruise. The group includes bickering couple Norman and Beverly, and young couple, Chuck, and Rose. Following an inexplicable encounter with a ghostly ship in the middle of the night leaves the boat sinking. With no options, passengers and crew scramble to an unknown island. As they search for help, they discover an abandoned resort and its lone living resident – the SS Commander responsible for an experimental Nazi zombie squadron.
Shock Waves Distinguishes Itself with Creepy Ambiance
No one is going to confuse Shock Waves for a classic in horror film-making. One quick glance at the grainy picture quality will tell you it’s the very definition of low-budget. Fortunately, Shock Waves is a genuinely odd and eclectic piece of cinema that actually benefits from its budgetary constraints. Released roughly a year before George A. Romero’s Dawn of the Dead, Shock Waves offers a unique aesthetic take on the zombie mythology. While it’s clear that the Nazi zombies are played by a handful of the same actors, the leathery makeup effects, created by Alan Ormsby of Children Shouldn’t Play With Dead Things, are both distinctly memorable and creepy. The scenes of the undead submerged or rising out from the water strike just the right nerve, never feeling silly or ‘cheap’. These scenes illustrate how a chilling atmosphere can be achieved even on a shoestring budget.
What truly sets Shock Waves apart is its midnight film vibe.
However, twat truly sets Shock Waves apart is its midnight movie vibe. Wiederhorn creates an uneasy ambiance, an overarching air of creepiness, that a big budget can’t buy. Shock Waves also stands out due to its electronic score created by Richard Einhorn. In fact, it wouldn’t be a stretch to argue that Einhorn’s haunting score is the best part of Shock Waves. Discordant and drawn out water-drenched chords add depth and personality to the film.
One B-Movie, Two Horror Film Icons
Despite its low budget, Shock Waves had the distinction of casting not one, but two, horror legends. Neither John Carradine nor Peter Cushing are in the movie for any great length of time. Their appearances amount to extended cameos. Carradine, who replaced Bela Lugosi as Dracula in House of Frankenstein, anchors the first 10 or 15 minutes as the ship’s crusty captain. Cushing turns up later as the SS Commander responsible for the Nazi zombies. Looking very gaunt and sickly, Cushing still classes things up even when he’s largely just required to deliver expository dialogue.
…Cushing still classes things up even when he’s largely just required to deliver expository dialogue.
Horror fans expecting the same level of visceral gore and jump scares characteristic of other zombie films will likely be disappointed with Shock Waves. There are certainly a few well placed scares but Shock Waves largely relies on atmosphere and mood. Most of the choreographed action is simple and clumsily staged. Moreover, most of the deaths occur off-screen leaving virtually no explicit gore of which to speak. This is a movie intended to get under you skin, not bombard you with visceral shocks.
Shock Waves Deserving of Cult Status
Sometimes things just strike the right chord. While it’s not a hallmark of the zombie subgenre, Shock Waves has a midnight movie vibe worthy of cult status. Much of the movie’s 70’s atmosphere can be attributed to Einhorn’s excellent electronic score. Specifically, Shock Waves is the kind of movie that will remind older horror fans of being a kid and sneaking up late at night to watch a scary movie while hiding under the blankets. Technically, it’s not a good movie. But it has something that most horror movies are desperate to replicate. And it has Peter Cushing.