The Beyond

The Beyond

Directed by Lucio Fulci

87 minutes

The Beyond (Lucio Fulci, 1981), that was also released as Seven Doors of Death, is unofficially part of the Gates of Hell trilogy alongside City of the Living Dead (1980) and The House by the Cemetery (1981). I haven’t seen City of Living Dead, but, The House by the Cemetery has similarities in themes and a good reason why the cellar door is locked and you shouldn’t go down to that dodgy looking basement. Unfortunately Fulci’s films were heavily censored due to graphic content, but any Fulci enthusiast could tell you his films are unique and shouldn’t only be recognised for the gore. Of course, Fulci was labeled the “Godfather of Gore” for a reason, and no doubt there are some gruesome scenes in The Beyond. For example, a character falls from a ladder, only to wake up to tarantulas ripping his face apart. Although the visuals are pretty bad what is unique to this scene is Fulci leaves the viewer with nowhere to go but to watch the agonising scene. It is long and refuses to satisfy the viewer through fun, quick murder scenes. There are no traditional timing cues, so you have know idea when an event is going to take place. Don't except to hear, “I’ll be right back”. Equally,  Fulci’s characters aren’t your typical sexually active teenagers or virginal final girls. 

There’s not much to The Beyond, which is a good thing because it evokes some nice imagery. Main protagonist Liza (Catriona MacColl) invests in the same house that during 1927an artist named Schweick had been killed by a Lynch mob believing him to be a warlock. Schweick is killed in a Christ-like way only to return back as a zombie. Liza starts to repair the building, hiring Joe the Plumber (Giovanni De Nava) to fix the dodgy basement. However, Joe activates a wall to the hell portal allowing the dead to cross into the world of the living.

Besides the odd lip-synching issues you get (unfortunately) with Italian horror films or characters tactically used in the script to explain what is going on, this is great film. Not only does it have Fulci’s gore trademark, The Beyond has layers. Even though the heavenly overtones are quite obvious, its imagery, especially in the final sequence when the main characters become trapped in a surreal labyrinth, this is beautiful. Fulci is suggesting the final characters are possibly, in purgatory and depending on how you view this, could be a happy or dark end. Symbolism is also clear and beautiful displayed through the eye. In one occasion the victim’s head is pushed so far through a nail, it causes her eye to pop out. This could also suggest that the audience have been metaphorically assaultive. Emphasis to the eye also occurs when character’s come into contact with the dead and turn blind. Emily, played by Cinzia Monreale is not only blind but represents a ghost figure. What becomes interesting in her dialogue is the way Emily interprets being blind has made her perception better, but at the same time, it is not without its consequences when the spirits turn against her.

 The Beyond is a picturesque, scary film, which sound like they couldn’t exist together. Sometimes the narrative doesn’t making sense, but it resists the urges to take you to the familiar territories in the horror genre. Fulci takes you to a familiar place like you are dreaming and the random cognitive within them.

Cinema Paradiso

Cinema Paradiso

Directed by Giuseppe Tornatore

155 minutes

Giuseppe Tornatore’s 1988 film Cinema Paradiso is an endearing film that brings the magic and joys of cinema love to a poor Sicilian community.

Cinema Paradiso is set in the 40s, the 50s, then the present day, the 80s. It involves a young boy Salvatore (Salvatore Cascio) and an older man, Alfredo (Philippe Noiret), a theatre projectionist in a cinema house called (Cinema) Paradiso, a cinema that resembles a church. Salvatore connects with Alfredo as a father figure and a lover of the cinema. Even though their relationship involves annoyance and slapstick routines, humour turns tragic when Alfredo’s good samaritan gesture burns the cinema down. Salvatore is able to save Alfredo but as a result is blind and badly burnt.

Progressing into the 50s, Cinema Paradiso has been re-built by a man from Naples and now, a teenage Salvatore (Marco Leonardi) is the main projectionist with Alfredo by his side. This chapter focuses on Salvatore falling in love with Elena (Agnese Nano) and the consequences that go along, such as not being accepted by Elena’s parents and having to serve time in the military. Convinced by Alfredo, Salvatore leaves town to start a new life in Rome. Cinema Paradiso begins where it stated 30 years later, and a much older Salvatore (Jacques Perrin). Salvatore returns home in order to attend Alfredo’s funeral and see the cinema he loves, demolished.

This is a progressive journey between Alfredo and Salvatore which is, equal and respectful. Alfredo is a mentor, taking Salvatore under his wing and Salvatore is simply there for Alfredo. It is quite upsetting knowing their friendship has ended and can only remain a memory. Similarly, the cinema being turned into apartments is a topical conversation we face today. But besides these tragedies, this is a sweet film. Prior to the demolition of paradiso, the viewer has already experienced a time in cinema, pre multiplex and the golden age of film, and this is beautiful and rewarding.

However, Cinema Paradiso is not necessarily suggesting the past is better it is a nuanced film. We discover that perhaps holding onto nostalgia is damaging. For example when Salvatore returns home and see’s his home without a cinema he is naturally upset and feels responsible for leaving town, you can also argue that due to the past Salvatore is a successful director. However, their is a straight forward analogy the the past has damaged Salvatore love life. This is when he tracks down Elena and discovers she has married. Although, Salvatore has had other partners he reveals that his life has not been properly fulfilled. For Salvatore, the past was a time of enjoyment and because he has not been unable to shake off these memories it has left his unhappy.

There is plenty to enjoy with Cinema Paradiso, the composition is Ennio Morricone, which is sad and whimsical, but mostly enjoyed as a memorable tune that will remain in your head. The washed out tones resemble a spaghetti western depicting a rural community but the setting of the cinema, is symbolic to the frontier and the western confliction.

But most of all, the snippets of American epics and international films, staring Brigitte Bardot or directed by Michelangelo Antonioni reminds the viewer to a time that existed in cinema, pre- CGI. Not to mention the innocence and directors that pushed these boundaries on screen, making it tragic within itself.

An Education

An Education (2009)

Directed by Lone Scherfig