Hawkins, Indiana is experiencing strange things once more. And it's connected to the Soviet Union.
Takeshi is tortured for information. Ortega brings her abuela back for Day of the Dead.
Glenn is determined to make it to Terminus. Meanwhile, Daryl falls in with a group of men who are searching for revenge.
The House by the Cemetery. 1981. Directed by Lucio Fulci. Screenplay by Lucio Fulci/Giorgio Mariuzzo/Dardano Sacchetti, from a story by Elisa Livia Briganti.
Starring Catriona MacColl, Paolo Malco, Anioa Pieroni, Giovannia Frezza, Silvia Collatina, Dagmar Lassander, Giovanni De Nava, Daniela Dora, Gianpaolo Saccarola and Carlo De Mejo. Fulvia Film. Rated R. 87 minutes.
I came to Lucio Fulci about ten years ago, after seeing City of the Living Dead. His classic look, the effects, an insanely nasty sense of style – how could I not enjoy his films? After that one, I found The Beyond, which is tied with A Lizard in a Woman’s Skin as my favourite of his work. So I made my way through everything by him I could find. Though his movies aren’t perfect, I find them perfect for me, for horror. They’re not full of grand metaphor, they aren’t even particularly complex in plot. What Fulci offers is a visually pleasing aesthetic, crossed with the brutal qualities of his own personal horror movie madness.
The House by the Cemetery isn’t his best, though, it’s nowhere near his worst. While many might have you believe it’s overrated, or that it’s “typical Fulci”, I say that’s nonsense. Especially those who think it’s “typical” of him – what’s wrong with typical Fulci? He’s a classic horror filmmaker, his style is all his own. Added to that, there are always solid gore effects, you can count on that. This film has all the earmarks of Fulci with a bit of inspiration from H.P. Lovecraft and other sources.
Essentially, this is Fulci’s version of the haunted house horror.
Norman and Lucy Boyle (Paolo Malco/Catriona MacColl), along with their young boy Bob (Giovanni Frezza), move into a home belonging to a colleague of Norman’s who committed suicide; he plans on researching the house itself, as well as the other previous owners. Soon enough, Bob sees a young girl named Mae (Silvia Collatina), but only he can see her. She tries to warn him of the danger in the house. No one will believe him, certainly not his mother. Eventually a woman comes to take the position of babysitter for Bob – Ann (Ania Pieroni) shows up out of nowhere for the job.
Things slowly get scarier in the old house, as Norma and Lucy discover a Dr. Freudstein once lived in their new home, around the turn of the century. He was a Victorian era doctor who performed illegal surgeries and experiments. This leads to more gruesome discoveries around the property, as the past comes alive and tears its way into the present.
When the movie’s filmed in English, yet still dubbed in post-production for some odd reason, you can’t expect it to be an outright masterpiece. Can you? No. So, when you watch The House by the Cemetery I’m not saying you’ll be blown away by all the technical aspects. Nor am I saying the story makes perfect and complete sense. Not in the slightest. What I am saying is that Fulci manages to do excitingly eerie things with atmosphere, as well as the fact he does his best to include some proper gore to wet the whistle of all those gore hounds out there.
My favourite part of this film is that atmosphere. The overall tone is grim. There’s something common to Fulci, I think. Every movie feels hopeless, not an ounce of actual happiness and figurative light manages to make its way into these stories he tells. Which is perfect for horror, and why I’m always inclined to enjoy so many of his films. The House by the Cemetery has the pretense of having those happier moments in the beginning, but the immediacy in Fulci’s presentation of the horror going on inside the house sets the tone quickly. It reminds me of how George Romero starts Day of the Dead with that neat, brief little dream sequence; sets us on edge from the start, almost like a visual manifesto. From there, Fulci works on us with his imagery alongside an unusual and exciting score from Walter Rizzati. The aesthetic of the film is, again, very Fulci.
I mean, even the scene where Norman (Paolo Malco) gets attacked by a bat becomes something intensely horrific. It latches onto his hand for what seems like ages. Finally, after a tough wrestle with it as everyone watches in horror, Norman stabs the things, blood pumping everywhere. The mark it leaves is savage. Such a normal event like finding a bat in the basement – something which happens plenty to people around the world – transforms into the stuff of nightmares. Such is the power of Fulci. He doesn’t have to be doing anything extraordinary in terms of plot or story in order to make things interesting, or in this case pretty nasty.
I’ve seen a lot of people complain about the story, like the plot is completely nonsensical. Not sure why so many complaints. There’s not much going on here to really need to comprehend. It’s a haunted house style horror movie, there are reanimated corpses in the house – chaos and supernatural terror ensue. What’s so tough to get? Not saying that everything is tied up into neat little packages and the screenplay rounds off every edge it fashions. But seriously – I don’t get the labels of incoherent other reviews have put out there. Does not make sense. There’s a surreal nature to this creepy house of Fulci’s, I feel The House by the Cemetery is like a fever dream full of haunting images. As I said earlier, this is like the past meets the present. The visceral entities of the house’s past come alive to keep taking lives, to keep Dr. Freudstein in business and corpses for experimentation, surely. Is that not the whole point? Just can’t get my head around why people feel the need to criticize Fulci here when the movie isn’t trying to be anything more than it is: a creepfest with nasty kills and a grim tone.
Despite all my love for this Lucio Fulci film, I do find a lot of the acting – aside from Catriona MacColl who is always fabulous – pretty damn bothersome, and tiring most of the time. Regardless, I still say this is a 3.5 out of 5 star horror movie. It’s got a nice dose of gore, the typically awesome and gnarly horror expected of Fulci. Not only that, the story is creepy enough to keep things going; no matter what people say about its supposed incoherence. Mainly, it’s just not an overly complex plot or anything. It has the goods to satisfy a haunted house movie craving, on top of that the blood and vicious bits will keep the hounds at bay. Not Fulci’s top horror, but like I said it’s light years away from being the worst. This is a good flick for Halloween and it’s a generally good one to take in if you’re getting into Fulci, or if you’re into him and have yet to see it because of Negative Nancies and Davie Downers saying this is overrated, or yadda yadda whatever else they say. Judge for yourself! Let me know what you think in the comments, I’d love to hear other perspectives, as long as you’re civil – then this Dude abides.
Day of the Dead. 1985. Directed & Written by George A. Romero.
Starring Lori Cardille, Terry Alexander, Joseph Pilato, Jarlath Conroy, Anthony Dileo Jr., Richard Liberty, Sherman Howard, Gary Howard Klar, Ralph Marrero, John Amplas, Phillip G. Kellams, Taso N. Stavrakis, and Greg Nicotero. United Film Distribution Company (UFDC)/A Laurel Production/Dead Films Inc./Laurel-Day Inc. Rated R. 96 minutes.
For me personally, though I love each of them and think they’re masterpieces of horror, George A. Romero’s Day of the Dead is my favourite of his first three major zombie films. The post-apocalyptic feel here is even stronger than in the previous Dawn of the Dead and I can’t get enough of it.
Romero dives into more sociopolitical issues again here, as he did with the other two Dead movies. This screenplay deals with the head-butting elements of science and military in a world ravaged by the zombie virus. Most of all, though, this movie really gets down to the nitty gritty, raw side of humanity – what we, as a species, would devolve into, regressing back to a primitive state once the zombie apocalypse begins. Through the military vs. scientist dilemma throughout Day of the Dead, this microcosm of the post-virus landscape in a bunker under the ground, we’re able to see how far humans will go, or better yet how far they can fall. Even further than that, as the good Dr. Logan says “they are us“: Romero tries to introduce a clear example of how zombies are still human, merely men and women reduced to a primitive, less active and intelligent state. So what interests me most throughout this fascinating zombie film is how the line between man/womankind and our primitive animalistic self seems to only be a thin one, a light veneer barely separating the two states.
Romero knows us, better than we’d like to admit.
When zombies have overrun the world, a dozen people – government scientists and military – live in a bunker below the earth. The scientists, led by Dr. Logan (Richard Liberty) and Dr. Sarah Bowman (Lori Cardille), attempt to try and figure out how to battle the zombie virus itself. Although, Logan has some different and perhaps unorthodox ideas about the way to experiment in such things. The soldiers, now under command of Captain Henry Rhodes (Joseph Pilato) – a hotheaded and equally stubborn, violent man – do not approve of what the doctors are doing.
After the isolation of being underground starts to emotionally and mentally unhinge Private Miguel Salazar (Anthony Dileo Jr), the outside world of the living dead manages to break through, coming down below to meet the still-living.
And then, on that day, hell breaks loose.
The opening scene, to me, is one of the things I’ve always loved and found memorable about Day of the Dead. Not sure why, I suppose because there’s a creepy dream-like quality about it which sets the tone: this is going to be a nightmare. And it is, in the absolute correct sense of the word, in the right way a horror film ought to be a nightmarish experience.
Truly, this film is a haunting zombie horror. In my opinion the special makeup effects are best here. Savini gives us amazing gore to soak up. Greatest of all comes quickly, after we’re introduced to the man lovingly referred to as Dr. Frankenstein by the other scientists and the military men, Dr. Logan: a zombie on one of the operating tables leans over, ripping a strap from its arm, and reaching out its guts and innards fall out of the stomach’s cavity onto the floor, slopping in its own mess. Nasty bit! Even better, the dream imagery comes back – like the beginning scene – except much more brutal, and it emulates the zombie’s guts falling out: as Sarah lies in bed, she imagines seeing Miguel similarly lean over with his insides evacuating, then comes back to reality fast. These alone are worth the price of admission regarding special makeup effects. Savini really pulls out his big guns in this movie, taking away the comic book garishness(/awesomeness) from his Dawn of the Dead zombie work, replacing those qualities with equal excellence on top of dirty, disturbing and realistic blood. Not knocking his previous work for Romero, on the contrary – I love it (check here if you don’t believe me). There’s simply a better, more terrifying aspect to the special makeup effects here; while the cartoon-like essence in Dawn of the Dead came a subtle creepiness, here it’s an outright mortifying feeling Savini gives us. Thank you, Tom!
BEST DECAPITATION IN ANY FILM – EVER. My vote goes for a scene around the 1 hour 27 minute mark. A soldier is surprised from behind by a group of the living dead when they pin him down, each grabbing bits and pieces of his flesh, then tear his head off. My favourite part is his scream – as they start to pull the head off, neck separating from shoulders and sternum, his voice gets higher and higher until the vocal cords literally snap off, blood spurting, and the entire head is free. Amazing, amazing special effects here. Such beautiful practical work in the horror genre, really a crowning achievement as far as I’m concerned. And not just that: it’s nasty as all hell.
Human beings are shit. Romero knows this is at least partly true. One part of why I love the scientist vs. military conflict here is because each side is presented as having their faults or their wrongdoings; not every individual is bad, but neither whole side is presented as totally in the right. For instance, though the military men are all pretty much horrible human beings, except for Miguel (he’s just gone absolutely insane), the scientists are not all rosy and perfect either – Logan and his experiments are a little barbaric, mostly considering he’s opted not to tell the soldiers about using other dead soldiers for extra meat. So sure, the scientists are ultimately trying to do the right thing, in whatever way it can be accomplished. There’s still an unethical aspect to the way they’re going about the mission. What Romero does with this plot is show us how not all soldiers are culpable in the terrible actions of soldiers in general, just as not all scientists are working towards the greater good most scientists try and work towards achieving. Every side has their good souls, every side their bad. But the bad ones – man, does Romero ever show us how bad they can get when the going gets tough.
Generally it’s the sense of isolation which gets to me about this Romero masterpiece – it has so much suspense and tension because of its setting, generally lending itself to an air of eeriness. Night of the Living Dead was located mostly in the farmhouse, so there is a real sense of tightness, the characters enclosed and withdrawing further into the house at times. Dawn of the Dead even dared to get a little more claustrophobic because even within the mall, once zombies started to overrun the place there was nowhere for the survivors to go, or at least limited options of where to start running. What’s devastatingly intense at times about Day of the Dead is the fact they’re all underground. Even with the helicopter up above and a way to fly off, there’s still a ton of zombies trying to get in. Plus, once Miguel does the unthinkable after his craziness reaches its peak, the zombies filter into the underground bunker. So it’s WAY WORSE than the mall in the previous movie because so far below ground there are less ways to escape than a huge building aboveground. Add to that all the human elements of Romero’s wonderfully written screenplay, you’ve got yourself a backload of tension and unnerving suspense happening on an almost constant basis.
Another 5 star film from George A. Romero. I’m huge on his films in general, not just the zombie work. But god damn it if he doesn’t make the greatest possible use of the living dead, adding solid horror to solid writing concerning sociopolitical issues to create a unique brand of horror sub-genre storytelling. Not every last piece of his zombie movies are full of issues – some times it’s just great and vicious horror. Though, it’s hard to deny how well Romero captures the issues of the day. Moreover, still as I write this in 2015, the issues continue to stay relevant: we’re almost always living in an era where the brutality of the military and politicians with their want for war come up against more rational, scientific approaches to the world around us. Day of the Dead is a masterful horror film in general and one of the greatest zombie films ever made. Personally, it’s my favourite of Romero’s Dead series because there’s a wholly unique quality to it even above his others. If you’ve not yet seen this, please do so. Particularly if you are big into zombies – you’ll see a lot of this film’s influence in other more contemporary zombie movies, as well as The Walking Dead of course. And really, it is just a solid, effective work of horror well worth your undivided attention.