by Steve Habrat
Italian director Lucio Fulci (the “Godfather of Gore”) is the man responsible for some of the most extreme horror films released in the late 70s into the mid 80s. Probably best known for his 1979 grindhouse gross-out Zombie, Fulci is also celebrated, at least by horror buffs, for his unofficial Gates of Hell trilogy. Beginning with 1980’s City of the Living Dead and ending with 1981’s The House by the Cemetery, the series peaked with The Beyond, the second film in the zombie-filled trilogy. Loved by both horror fans and exploitation gurus (Quentin Tarantino has said he is a fan and his Rolling Thunder Pictures even re-released the film into theaters a few years back), The Beyond is a surreal zombie nightmare that boasts a number of striking images combined with the director’s trademark carnage that every horror fan has come to expect when watching one of his films. It really doesn’t take the viewer long to understand why the film has earned the cult following that it has, especially when Fulci starts out by diving head first into a nasty sepia-colored crucifixion. Looking at The Beyond today, the effects are dated, the dubbing horrendous, and the acting about as over-the-top as you can get, but Fulci still manages to craft a fairly solid horror film that surprisingly gouges its way under your skin (that is, when you’re not chuckling at it).
The Beyond begins in 1927 Louisiana, with an angry mob storming the Seven Gates Hotel and brutally killing an artist named Schweick (Played by Antoine Saint-John). The mob believes that Schweick is a warlock, but little do they know that when they spill his blood, they will unknowingly open a gateway to Hell, which happens to be nestled underneath the Seven Gates Hotel. When this gateway is opened, it allows the dead to enter the realm of the living. Several decades later, a young woman by the name of Liza (Played by Catriona MacColl) has inherited the dilapidated Seven Gates Hotel and is planning on re-opening it once renovations are finished. As the renovations continue, strange apparitions spook the workers and some are seriously injured in freak accidents. To make things worse on Liza, the hotel comes with two suspicious servants, Martha (Played by Veronica Lazar) and Arthur (Played by Giampaolo Saccarola), who are constantly snooping around Liza’s room. When a plumber is brutally murdered and a rotten corpse turns up in the basement of the hotel, Liza teams up with Dr. John McCabe (Played by David Warbeck) to get to the bottom of the bizarre events. Their search leads them to Emily (Played by Sarah Keller), a mysterious blind woman who warns Liza about the hotel’s gruesome history and the dead who roam the basement.
In typical Fulci fashion, the plotline of The Beyond is an absolute mess, but you’re not really here for a satisfying story. No, if you’re stepping into Fulci’s world, you are there for the stomach churning gore, which usually revolves around the eyes (Fulci had a thing with the eyes). The Beyond is more than eager to deliver the violence we have all come expect from the “Godfather of Gore” and it certainly will have some reaching for the barf bag. Eye balls are gouged out, heads are impaled by jagged nails (complete with popped-out eyeballs), faces are eaten off by acid, people are crucified, one character is horrifically whipped with chains, another character has a massive hole blown into their head, man-eating tarantulas eat a character’s face off, and another character has their throat ripped out by a rabid dog. If that is not enough, wait until the zombie-filled climax, with the undead shuffling around a seemingly deserted hospital in search of an all-you-can-eat buffet of entrails. If you’ve seen Fulci’s Zombie or City of the Living Dead, you already know that these ghouls shuffle slowly, are decayed beyond belief, and moan through deep, heavy breathing. They certainly are impressive and Fulci is well aware that they are absolutely disgusting. Yet despite how gross The Beyond can be, Fulci still coughs up a few creepy images (as well as bloody vomit) that will certainly cause a few sleepless nights. Silhouetted zombies shuffle through the cobwebbed hotel, the blind Emily waits for Liza in the middle of the Lake Pontchartrain Causeway, and a rotting apparition appears in the bathroom of a supposedly haunted hotel room. It’s freaky stuff!
The Beyond also happens to boasts some fairly decent acting, a rarity in both Fulci’s work and exploitation cinema. MacColl is likable enough as the frightened Liza, a New Yorker who doesn’t believe in supernatural ghouls. Warbeck gets by as the pistol-packing doctor who just can’t seem to understand that you have to shoot the zombies in the head. Even if he never learns how to slay the undead, he’s good as the macho hero. Keller is easily the best as Emily, the blind girl with more than a few secrets of her own (her eyes will make your skin crawl). Her character gets the creepiest introduction, standing calmly right in the middle of the causeway as Liza’s car speeds towards her. Lazar and Saccarola are hilariously suspicious as the creepy servants that roam the hallways of the hotel. The best of the duo is easily Saccarola, who mopes around sweating and always looking terrified of something we never see. For horror buffs looking for a neat little Easter egg, keep an eye out for a cameo from Fulci, who appears as the librarian who leaves an architect to be eaten by an army of tarantulas.
Perhaps the strongest film from Fulci, The Beyond is certainly the artiest offering from the Italian horror master. He takes a little more care when putting his gothic images together and he really puts some effort into building a menacing atmosphere deep in the bayou. While the zombie climax is certainly fun, you can’t shake the feeling that it is a sequence that has been tacked on. Apparently, the film’s German distributor wanted to capitalize on the zombie craze that was ripping through Europe at the time, so they demanded that Fulci write in some undead cannibals. At least they look really creepy! You may also catch yourself chuckling at the music, which seems like it would have been more at home in a daytime soap opera rather than a ultra-gory horror film. Overall, The Beyond certainly has its fair share of goofs and flaws, but you just can’t resist its midnight movie appeal and its jaw-dropping violence. If you can, see it on the big screen with a bunch of horror enthusiast or watching with all the lights turned out. This one is guaranteed to make squirm even if you are laughing at the obviously fake tarantula eating a guy’s tongue out.
The Beyond is available on DVD. If you can, try to pick up Grindhouse Releasing’s copy of the film.