On the other hand, the prevalence of face masks in the film’s opening sequence – which The Living Dead at the Manchester Morgue uses as an index of the pollution in the city landscape from which protagonist George (Raymond Lovelock) escapes to a countryside made even more dangerous by invasive modern technologies – seems frighteningly prescient in the era of Covid. R evisiting Jorge Grau’s atmospheric 1974 horror film The Living Dead at the Manchester Morgue, one might wonder what happened to that once oh-so-familiar English landscape of Victorian hospitals with puke green walls and high, vaulted ceilings Mini Coopers and Norton motorcycles in the days before seat belts and motorcycle helmets became compulsory desperately arty, well-spoken middle-class photographers taking night-time, desperately arty black-and-white photographs of the fauna near their country homes, whilst their troubled wives prepare a hit of junk in the potting shed at the bottom of the yard and, most noticeably, streakers (Yes, what on Earth did happen to streakers?).
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