Lucio Fulci’s films are the ones to watch if you’re in the
mood for disgusting, overtly camp horror. He started his career in a rather
harmless way, directing a dozen or more unsuccessful Italian comedies that
didn’t get a very wide release, particularly in the US. Then in the early 70s,
possibly due to the suicide of his wife, he joined the ranks of the infamous
‘giallo’ directors, which included Dario Argento, Lamberto Bava and Sergio
Martino and began creating some of his most famous films to date. Zombie
Flesh Eaters and City of the Living Dead followed, obvious yet
brilliant attempts to cash in on Romero’s undead franchise.
Then came The
Beyond: a delightful tale of Lovecraftian horror that had to be heavily
edited and released using an alternate title for it actually to be shown in
American cinemas, and Kino Klubb (following the success of their screening of
Carpenter’s They Live! at Broadway last month) were kind enough to show
it a week before Halloween, uncut and uncensored at Screen 22.
For those of you
unaware of what Screen 22 is, it is unofficially the smallest cinema in Europe
(with only one screen and 22 seats, but Guinness World Records have yet to
confirm it), just off Broad Street in Nottingham, and they don’t show newly
released films, but a careful selection of classics, voted for by the public.
Before The Beyond was shown, a nice man from Kino Klubb wearing a
glow-in-the-dark skeleton outfit introduced filmmaker Luther Bhogal Jones, who,
after expressing his admiration for Fulci, showed his brilliant new short film Creak,
inspired by bumps in the night and exploring houses in the dark.
Then came the
horror, the brightly coloured horror, of The Beyond, and everyone
settled down in their seats, chocolate eyeballs clutched in their hands, ready
to be entertained. The plot: in the late 1920s an artist is lynched in the
basement of a hotel for dabbling in the black arts, and his murder opens up one
of the Seven Gates to Hell. Cut to the present day and Lisa, a young woman from
New York, has inherited the hotel and plans to have it renovated, but the
building-work re-activates the portal and a whole host of things start to go
wrong: people fall off ladders, patients at a nearby hospital all turn into
zombies and the ghost of a blind girl tries to get Lisa to move out of the
hotel. How does she get things back to normal?
The Beyond is
basically two different films sewn together: the first half, a haunted house
story, comprising of a series of random ghostly events (the director himself
said the film was plotless), and then the second, a full-blown zombie thriller
set in a hospital, as if Fulci wanted to incorporate elements of Zombie
Flesh Eaters. It just seemed overcomplicated – perhaps if the zombies were
in the hotel itself, it would have been a more grounded and enjoyable film, but
setting it in two completely separate locations muddled the already weightless
story.
The special effects
used were admittedly very entertaining, and the audience groaned or laughed
every time an eyeball exploded (Fulci’s
trademark obsessions with eyes and the act of seeing are present throughout his
films) or a tarantula ripped open someone’s face – this was some of the most
inventive gore of its time, challenging and inspiring the likes of The Evil
Dead, The Thing and Alien to be artfully disgusting without
the use of computer graphics. This, and the hilarious lines of dialogue (“No
Lisa, I’m a doctor! I’m calling the FBI.”), make it easy to see why The
Beyond is considered by many to be such a cult classic.
An equally pleasant
and horrifying evening – Kino Klubb definitely know how to host a horror film.
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