The Undertaker

Beautifully art designed and chocful of British character actors that you've seen in all kinds of things for years, The Undertaker is a bit of a cult treat for lovers of unusual British films. Paul McGann heads up a cast that could have been plucked out of an industrial town from the mid 20th century, replete with starched collars and drizzled raincoats. Colour and joy have seemingly been bleached from the lives of these stoic post-war Englanders. You can almost smell the carbolic. The plot follows Arthur (McGann), a seemingly mild mannered undertaker operating a modest business somewhere in the north of England in the early 1960s. After he is approached by Finlay (Roger Barclay), a local gangster, he is coerced into disposing of a mounting number of cadavers created by Finlay's gang, as they launch a power grab. Arthur is faced with the dawning reality that when the music stops, he may well be the last man who literally knows where the bodies are buried. As Kelly (Sean Gilder), the detective investigating the case puts to him "Who's going to bury you?' Arthur's journey is one of complacency, rather than greed. He seeks the easier, softer way but in doing so, places himself and others in serious peril. The vampish Vic (Tara Fitzgerald) and Finlay's accountant Pullman (Bob Cryer) recognise this, but their warnings may not arrive in time to save Arthur from a fate that could be considered far worse than death. The Undertaker is an unusual little film for the movie watcher who doesn't shy away from the quirky. Its beautifully crafted sets and overall design are somewhat reminiscent of Caro and Jeunet's 1991 classic 'Delicatessen', having a slightly other worldly quality about them. Great performances throughout and worth watching for the late, great Murray Melvin's cameo performance alone (he plays Lenny, Arthur's business partner.) A solid 8/10.

The Undertaker is a dark and compelling period British crime thriller shot through with some amazing performances and stark visuals. Paul McGann plays the titular undertaker in a small northern town sometime in the 1960s. But Arthur's haunted by his past, a lost love of his life killed in the war, and the more recent death of his brother at the hands of local hoodlum Finlay, played by a compelling Roger Barclay who injects the small town bully with both menace and pathos. Also in the mix is a jaded and philosophical nightclub singer played by Tara Fitzgerald, watchable as ever, plus an an array of sinister sidekicks pilling the pressure on an increasingly nervous Arthur. When Finlay makes him an offer he can't refuse and a gig to bury a few bodies under the shadow of night, Arthur has to agree. But as the dead pile up Arthur flips and decides to take matters into his own hands, with a finale that recalls the visual chaos of early Kurosawa movies. A delight also to see the legendary Murray Melvin in his final on screen role. More morality play than gangster action flick, this film creates and maintains an amazing bleak atmosphere with some great visuals and great sound design. See it in a cinema if you can. .

In a dark northwestern town in England sometime in the 1950s or 60s, Paul McGann plays a silent brooding undertaker, scarred by the death of his brother at the hands of local Gangster Finlay (Roger Barclay) and mourning the loss of the love of his life. As Finlay's brutal business ambitions result in a series of killings by his henchmen Arthur is pressured into disposing of the bodies by burying them with the naturally deceased. This underhand deal begins to eat away at Arthur who realises he's getting into deep trouble as the police in the shape of Kelly (Sean Gilder) start to take an interest.

This is a stark, but sometimes darkly humorous, character study, that really focusses on McGann's captivating performance as Arthur, as he deals with the pressure by trying to continue with business as usual even as his respectable facade and his mental state is crumbling.

The film is shot through with a gothic shadowy grime that shifts from virtually monochrome to lurid reds in Finlay's hellish nightclub 'The Chessboard Club' where silent songbird Vic (Tara Fitzgerald) focuses on philosophy rather than belting out caberet numbers. Lily Frazer is Arthur's mortuary assistant who having signed up for the job can't stomach the questionable morals of Arthur's new lucrative side line.

This is a thoroughly enjoyable, dark, strange gothic crime thriller, with odd twists and turns and a unique look that creates its own deeply claustrophobic world on the screen.

A very good film. Saw this in the local cinema. I didn't know what to expect but it was very interesting. Described as a dark film noir thriller. Certainly the quality of the film is film noir. It's set in a Northern town in England in the 1960's, very much reminiscent of those kitchen sink dramas of the time. An Undertaker (Paul McGann) is presented with an offer he can't refuse by the town gangster (Roger Barclay). The film descends into a killing spree with someone's final demise. The acting is great, really string performances particularly from Tara Fitzgerald as the gangsters moll. Cameos by Nick Rowe and Sean Gilder bring a strong quality to the work. Michael Wrights direction is good although the story is repetitive at times. The whole feeling is claustrophobic and dystopian. Some ingenious use of sets makes this a very unique film harking back to the classic British cinema of the late50s early 60's I liked it but I'm not sure I'd watch it again.

In gentle, stylish, 1950s-based British dramatic-thriller "The Undertaker" quietly professional titular Manchester undertaker Paul McGann is pressured by local mobster Roger Barclay to discretely dispose of dead bodies... despite the concern of the likes of Tara Fitzgerald & Lily Frazer, and the interest of copper Sean Gilder. Michael Wright's debut as director is excellent, eliciting terrific performances while shooting in a striking, original, ethereal manner... but the screenplay (his second) doesn't match that level, being TOO sedate before failing to deliver the necessary bite in its final punch. It's an engaging, good-looking film - but one that ultimately comes up short.