Contains mild spoilers.
The Beyond or The
Seven Doors of Death as it was titled for the US audience is the second film in
Lucio Fulci's Gates of Hell trilogy following the reasonably well received City of the Living Dead. All of Fulci's trademarks carry over with intense shocking
scenes and the use of extreme blood and gore, an ambiguous dreamlike narrative
and an inconclusive and not-so-happy end to proceedings.
Catriona MacColl
returns for the second film, this time as jaded New Yorker Liza Merril who has
recently inherited a dilapidated old hotel in downtown Louisiana. Seeing this
as her final chance to have any success, her
determined-not-to-walk-away-whatever-the-cost attitude comes in handy as her
and her tradesmen unwittingly disturb one of the seven gateways to death that
has been sitting idle for the most part of a century.
Back in 1927
Schweick (Antoine Saint-John), a macabre and visionary artist who was staying
at the hotel was brutally crucified by a lynch mob in the basement originally
opening the portal. As the plumbers and builders start to work on the hotel for
Merril, one by one they disturb not only his old room but the site of his
death, awaken the old evil and meet their untimely deaths. Warned by a
mysterious blind girl, Emily played by Cinzia Monreale to leave and starting to
suspect there may actually be something to all the crazy shenanigans and
deaths, Merril turns to her local doctor Dr. John McCabe (David Warbeck) who
has taken a bit of a shine to her and the two try to at first make rational
sense of what's happening then later survive as the horrors unfold.
Fulci heavily cites
the influence of French surrealist Antonin Artaud. Artaud held the position
that theatre should be less about linear coherent narrative and more about
imagery and symbolism that would shock or confuse people and leave a lasting
impression, and you can certainly see his influence. Whilst The Beyond does
have a linear narrative following Merril there's an increasing dreamlike
incoherence to the film as Fulci not only challenges the viewer to question who
is really alive and who is really dead but what these notions might even mean.
At the end even Merril is faced with having to confront her own identity as
McCabe asks her, who she really is.
Whilst Fulci's films
are full of the reanimated there is always a mystical feel to proceedings with
the zombies used to drive the story and reinforce the macabre atmosphere; it's
certainly not traditional survival horror. Whilst the zombies of City of the
Living Dead do make a few brief appearances, Fulci also brings the more iconic
Romero zombie in for the ride. Returning to the hospital as if in a dream
Merril and McCabe are attacked from all sides by slow shambling un-dead and as
shots are fired and heads explode it feels like it could easily fit into one of
his Dead films. It's quite a high tempo set of scenes and contrasts with the
rest of the film, but it's still full of the over-the-top Fulci effects and
style and manages to work. I've read that Fulci only added these and the
shoot-out at the request of the production company who weren't overly keen on
the ambiguous surrealist spin and considered zombies the flavour of the month.
If this is the case he did a good job of wedging them in without disturbing the
overall atmosphere and direction.
Lucio Fulci's The
Beyond oozes style and suggestion. In retains the Lovecraftian overtones of its
predecessor and feels just as much a mystery as it does a horror film. It's
ambiguous and surreal yet somehow retains a strong narrative and voice through
to an ending that raises as many questions as it answers. It has all the
trademark Fulci over-the-top and over played, but always imaginative and
uniquely stylised slasher scenes with enough blood and gore to get the film
banned in the UK once again on release, but here, unlike City of the Living
Dead I felt there was tighter cohesion and they never felt shoe-horned in. The
Beyond is a remarkable piece of cinema; it's surreal, existential and beautiful and the more I watch from Fulci the
more I understand and respect the direction his films take, 9/10.
Steven@WTD.
Does this have the same genre cross over as City or is it more fully zombie?
ReplyDeleteNope, no sign of anything vaguely vamp; it's still a corker of a film though.
ReplyDelete