Reżyseria:
Lucio FulciZdjęcia:
Sergio SalvatiMuzyka:
Walter RizzatiObsada:
Catriona MacColl, Paolo Malco, Ania Pieroni, Giovanni Frezza, Silvia Collatina, Dagmar Lassander, Giovanni De Nava, Daniela Doria, Gianpaolo Saccarola (więcej)Opisy(1)
Opowieść o młodym małżeństwie z dzieckiem, które wprowadza się do starego domu na prowincji. Nie są jednak świadomi, że w piwnicy domu mieszka ktoś jeszcze… (FlixClassic)
Recenzje (6)
The House by the Cemetery is a nice surprise, at least by Fulci’s standards and by the standards of Italian gore trash in general. The filmmaker stays true to the gratuitous nature of the gory scenes, but this time they are part of the story, which actually begins and ends somewhere, has realistic characters and abounds with a secretive and mysterious atmosphere. Don’t you love it when children are placed in horror movies? The film’s protagonist is barely eight years old and goes through a hell that even adults don’t usually go through in films. It’s just a shame that the monster, which finally shows itself in all its glory in the final scene, is a bad joke. At any rate, this is probably the best and most “normal” of Fulci’s well-known horror movies.
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The gloomy autumn weather and the bleak surroundings of an abandoned cemetery with tombstones among the yellowing fallen leaves thicken an already dense atmosphere. The location of the house is perfectly chosen, in a secluded spot by the forest, away from the main road, which adds to the oppressive feeling of not being able to get help. And the house itself, built in the old style, is perfect for some satanic rituals or black metal parties :) This movie is so beautifully creepy and good that it could have easily done without the gore scenes. Paradoxically, it was their too naturalistic and sophisticated nature that didn't suit me, they disturbed the beautifully mysterious atmosphere. But why am I complaining, gritty violence has always been a part of Fulci and I have to praise the Maestro for the beautiful, ambiguous ending.
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It’s confirmed, Italian horror classics are not for me. The House by the Cemetery is already the fifth famous film from that country to disappoint me. Not only do the characters behave very illogically, but there are also a lot of incomplete motifs that are never explained, and everything feels awfully fake and shallow. Formally speaking, it’s not bad; the gore isn’t shabby, either – actually, it’s great, but that’s something you can expect from Fulci – so I can’t give it a low rating, but I can’t grant more than 3* either, the story was too irritatingly contrived for me. The last 10 minutes in the “cellar” are great, if the entire film had that atmosphere, I wouldn’t have been disappointed.
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The exceptionally well-played aspects, both in terms of storytelling and form, unfortunately get stuck during the second half in both respects. In comparison to The Beyond, Fulci significantly restrains the detailed portrayal of human body destruction. However, the halt in the narrative flow becomes a significant issue, and the dead twenty-minute segment leaves a bitter taste in an otherwise well-executed film. Its ultimate quality can be attributed to the phenomenal ending, in addition to the aforementioned introduction. For those who wondered about the absence of gore, Fulci opens their mouths wide with a strong concentration of mutilated bodies in a single scene, pleasantly unsettling the stomach while maintaining a juicy punch of dark atmosphere. With a bit of good will, one could even call it fear, as the chilling sensation down the spine from what we see can be described as such. Perhaps only a few blatantly idiotic lines from the mouth of the little blond and extremely unsympathetic boy, as well as the characters' implausible behavior throughout most of the film, create unpleasant flaws. However, these can be overlooked if we approach the overall experience more emotionally than logically. In such a case, four stars would indeed be a more than fitting rating for a good film.
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Zombie Hell House certainly won't be among my favorite Fulci films, although I think others could learn from him about how to make an atmospheric film. What he struggles with a bit is holding the viewer's attention in terms of the plot. I think at times it can be so weird that it might turn the viewer off, and they won't even enjoy the fantastic atmosphere that otherwise permeates the film. This film could use a few tweaks to the script.
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The last, most conventional and cohesive film of Fulci's Gates of Hell trilogy. The plot this time makes sense, but Fulci's flair for odd moments and bizarre stylistic excesses, such as disorienting camera swoops, jumbled refocusing and incomprehensible editing, are still evident. This time, though, there are slightly fewer gore effects. The most impressive moments mostly revolve around a mysteriously ajar or slammed cellar door, which plays a suspenseful role in key scenes. An insectoid zombie in a surgical gown, named Freudstein (apparently a fusion of the names Freud and Frankenstein), is a wonderfully bizarre villain. This time, a child character becomes the center of the supernatural events, and she goes through some surprisingly big scares (I wouldn't be surprised if her child actor took some trauma from the filming). Avoid the English dubbing, where this character is dubbed by an adult actor who tries to imitate the voice of a child, making the film an unintentional comedy.
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