Monica from Temple of Geek recently sat down with Michael Wright, the director and writer of The Undertaker (2023), and Roger Barclay, who not only portrays the character of Finlay but also served as a producer on the film. They discussed the film’s creative process, its compelling themes, and the unique challenges and triumphs of bringing this dark, gothic story to life. Spoilers ahead!

Arthur Morel (Paul McGann) dedicates his life to guiding the deceased from the living world to the next. But when local gangster Finlay Unsworth (Roger Barclay) offers him an irresistible deal, Arthur believes he can manage the increased workload. With retirement looming, Arthur pockets the money and turns a blind eye. Yet, as Finlay’s killing spree spirals out of control, Arthur quickly realizes he’s in over his head—he’s drowning.

Knowing too much and fearing he’ll be Finlay’s next victim, Arthur’s only choice is to become an amateur vigilante. He must end Finlay’s brutal reign of terror. As Arthur confronts Finlay and his own inner demons, he knows the funerals aren’t over, and his own may be next. The film stars Paul McGann, Tara Fitzgerald, Roger Barclay, Sean Gilder, Nicolas Rowe, Lily Frazer and Murray Melvin. It was written and directed by Michael Wright.

“The Undertaker” From Conception to Screen

During the interview, Michael Wright revealed that he wrote the script for The Undertaker in 2020, during the lockdown period. Having previously written a film that would have cost millions to produce, he decided to create something that could be made more independently, even “in my own back garden”. Wright also told us that the script was completed “quite quickly,” within about a month.

During his interview, Roger Barclay told us he joined the project as both an actor and producer, stating he had previously collaborated with Wright on a 2006 short film. They also shared how they assembled the star-studded cast.

Wright envisioned Paul McGann for the lead role of Arthur while writing the script. Nick Rowe, who plays the priest Reverend Lomas and knew Paul McGann, helped get the script to McGann. McGann’s keen interest was a pleasant surprise. In his initial four-hour meeting with Wright, where they discussed everything from silent movies to gothic themes, he solidified his involvement. While building their cast, the team discovered a humorous coincidence: many of the actors had appeared in “cult movies.”

Themes of Power, Corruption, and Resistance

The film, set around 1960 or 1961, though intentionally vague on specifics, delves into themes of power, corruption, and resistance. Arthur, Paul McGann’s character, is depicted as being “trapped” and “stuck in his own world”. His grief and depression following the death of his love, Fiorella (Carlotta Morelli), leave him vulnerable to local gangster Finlay’s offer. Wright explains that Arthur makes “the wrong decision for the right reasons,” seeking escape and money, and feeling compelled to comply with Finlay’s demands.

Roger Barclay elaborated on the setting, noting that it reflects a world where everything stops on Sunday and people are often confined by their circumstances or lack of qualifications. Tara Fitzgerald’s character “Vic”, for instance, is intelligent but dominated by the men around her. Barclay shared an anecdote about their production accountant, from the former Soviet Union, who resonated deeply with the film’s depiction of being trapped in a controlled world. Wright added that the accountant was particularly connected with the idea of someone having “an ironclad grip on a small town” through corruption and force.

Finlay’s Calculated Brutality and Cinematic Influences

Barclay discussed his portrayal of Finlay, a character he describes as a “bad guy.” Finlay’s power, Barclay explained, stems from his ability to avoid “getting his hands dirty.” He intimidates through henchmen like Robert Whitelock, who is “so scary” that Finlay can afford to be “charming and nice and laid back.” Barclay believes Finlay’s true brutality lies in his obsession with Vic, whom he wants to keep in a “gilded cage.” Wright added that Finlay often exerts power through his “rhetoric and his conversation,” using long, unpredictable speeches that leave others on edge. Both noted the similarity to gangsters in films like Goodfellas, who exude an underlying menace despite their polished appearance.

Wright drew cinematic influences from silent movies and early Kurosawa films, aiming for a “simple setting and a simple story” with style. He also cited Finnish director Aki Kaurismaki, particularly his crime stories with “intensive conflicts” and long, pressure-building scenes. Barclay highlighted the film noir quality and the 1950s/60s British feel.

The cast proved to be a remarkable assembly of talent. Murray Melvin, in his final film role, deeply humbled the filmmakers. The presence of actors like Paul McGann, Tara Fitzgerald, Nick Rowe, and Sean Gilder made the daily shooting experience exceptional for Wright. Barclay humorously recalled the terror of producing, noting the film was shot in just 23 days.

The Symbolic Use of Doors and Arthur’s Arc

The film’s subtle yet powerful use of doors to convey Arthur’s stress and anxiety was one of the most interesting and subtle parts of the storytelling. Wright confirmed this deliberate choice, explaining that Arthur’s obsession with shutting doors is a metaphor for his desire to deny reality and keep his private world separate. The open, flapping doors symbolize the spirit of his dead brother, Gordon, attempting to communicate with him and urge him to confront his choices. As if to illustrate Arthur “traversing two worlds, the living and the dead”.

Regarding Arthur’s narrative arc, Wright explained that Arthur initially enters a “Faustian pact” with Finlay, believing the money will allow him to retire and find solace on an island, spiritually reuniting with Fiorella. He grapples with being “a little bit wrong,” but eventually realizes the extent of Finlay’s corrupt machinery as more people die. Unable to run away, Arthur decides to “face this,” embarking on a misguided revenge mission before realizing it won’t fix anything. Ultimately, Wright believes Arthur finds a form of happiness and is “reunited with Fiorella” at the end, suggesting a positive, albeit hard-won, resolution. Arthur’s choice of a white suit and coffin with blue accents symbolizes his acceptance and desire to stop the corruption, even if it costs him his life.

Compelling Subplots and Audience Takeaway

Beyond the central conflict, Wright found the character arc of Bob Cryer’s Pullman, the crooked accountant, particularly interesting. Pullman, initially loyal, gradually doubts Finlay’s escalating actions and tries to “rectify the situation,” though it ultimately leads to his demise.

Another crucial character was Kat (Lily Frazer), the mortuary assistant, who serves as a moral anchor. Her no-nonsense attitude and clear moral compass provide a stark contrast to the corruption around her. Wright also mentioned the cop’s character Kelly (Sean Gilder), whose moral compass works fine, despite fighting a losing battle against a corrupt police force.

When asked what they hope audiences take away from the film, Wright described a sense of tension and claustrophobia, and that while the characters in the film cannot escape, the viewer can at the end of the 90 minutes, providing a sense of relief. Barclay added that the film prompts reflection, making viewers grateful they don’t live in such a scary world. And the audience may also find that “resistance is the key to getting out,” even when it’s frightening.

Coming Soon: Get Ready for the Ultimate Blu-ray Experience!

Prepare for an exclusive, limited edition Blu-ray loaded with special features, including a director’s commentary with writer/director Michael Wright and co-lead actor/producer Roger Barclay. Pre-Order Here.