Beyond the Darkness (Buio Omega)
May 29th 2007 05:07
You want sick? You want twisted? You want perverse? You want unbridled repulsion? Then come no further … One of the Euro meisters of exploitation, the extraordinarily prolific, but now deceased Italian director Joe D’Amato (real name Aristide Massaccesi) delivered a deeply dark exercise in florid exhumation, a neo-gothic descent into necrophilia madness.
It's original title is Buio Omega (which roughly translates as Final Darkness), it was released in America as Buried Alive, and in other regions as Blue Holocaust, but has become most widely known under the title Beyond the Darkness (1979). It’s an acquired horrorphilic taste to say the very least, but it’s a taste that will repel most sensibilities.
What makes it so interesting is that it is arguably one of D’Amato’s most accomplished films. It has striking use of locales, art direction and cinematography, quite solid acting, and some rather ingenious use of special effects makeup/trick photography. Still, be warned, this movie is not for the easily squeamish. Zombies, vampires, demons aside, one can handle the violence in those kinds of movies, because of the supernatural, escapist element. But in Beyond the Darkness the atmosphere and tone is so grimly sustained and palpably real, you can’t help but feel the movie’s dangerous proximity to reality (think Jeffery Dahmer, Ed Gein).
Frank (Keiran Canter) is an attractive, but creepy looking young man. He lives in a huge mansion in the gorgeous Italian countryside, along with his even creepier and androgynous-looking housekeeper Iris (brilliant performance from Franca Stoppi) while working as a taxidermist in the mansion’s basement. Frank’s fiancé Anna (Cinzia Monreale) is dying in hospital (it appears she is the victim of a voodoo curse). There is nothing the doctors can do. Frank can only watch her die. Now he is quite alone, having been orphaned as a young teenager, although his relationship with Iris only fuels his psychosexual confusion.
When Anna dies Frank injects her with a preservative chemical at the funeral parlour. Later he exhumes her body and in one of horror cinema’s more revolting scenes he performs a complete evisceration including sucking out the brain matter and cranial fluid, all shown in nauseating detail. It’s the composure of the scene which is most nightmarish. But of course D’Amato pushes the boundaries just that much further and show’s us Frank chowing down on his beloved’s raw heart.
After embalming Anna’s corpse Frank sets her upstairs in the master bedroom lying pallid on the bed while he gazes at her in a state of sexual arousal. Iris joins him and in another of the movie’s undeniably errrggh! moments she assists him in getting his rocks off. Yup, this is one fucked-up flick.
Matters go from disgusting to homicidal rather quickly, as Frank’s psychosexual compulsion leads him to murdering attractive young women whom he lures back to the pad. Even Iris gets in on the killing (dismemberment, acid baths, etc), her own deranged libido desperately wanting to maintain the union with her employer. Yes, it’s a dark and disturbing spiral this movie whirls steadily into.
Beyond the Darkness is pure horror cinema. Banned for many years, partly due to rumours that D’Amato had used a real cadaver (it isn’t, but it’s a most convincing fake). D’Amato’s movie proves some of the most effective horror movies are not just about the set-pieces, but about their context and the tone in which they are executed amidst the bigger picture. Add to it the effectively melodic, but altogether haunting electronic score by Argento stalwarts Goblin and you have a strong foundation supporting a very dark core.
If you are looking for an abyss to ease yourself over, Beyond the Darkness is a most suitably precipice. Of the many facets and levels of horror cinema, the handsome revulsion and quiet hysteria of Buio Omega is most unique.
For those of you game enough here’s the link to a suitably graphic, yet still restrained, German trailer for the movie under the title Sado - Stoß das Tor zur Hölle auf (Push the Gate to Hell Up):
Beyond the Darkness ... its not work safe
It's original title is Buio Omega (which roughly translates as Final Darkness), it was released in America as Buried Alive, and in other regions as Blue Holocaust, but has become most widely known under the title Beyond the Darkness (1979). It’s an acquired horrorphilic taste to say the very least, but it’s a taste that will repel most sensibilities.
What makes it so interesting is that it is arguably one of D’Amato’s most accomplished films. It has striking use of locales, art direction and cinematography, quite solid acting, and some rather ingenious use of special effects makeup/trick photography. Still, be warned, this movie is not for the easily squeamish. Zombies, vampires, demons aside, one can handle the violence in those kinds of movies, because of the supernatural, escapist element. But in Beyond the Darkness the atmosphere and tone is so grimly sustained and palpably real, you can’t help but feel the movie’s dangerous proximity to reality (think Jeffery Dahmer, Ed Gein).
Frank (Keiran Canter) is an attractive, but creepy looking young man. He lives in a huge mansion in the gorgeous Italian countryside, along with his even creepier and androgynous-looking housekeeper Iris (brilliant performance from Franca Stoppi) while working as a taxidermist in the mansion’s basement. Frank’s fiancé Anna (Cinzia Monreale) is dying in hospital (it appears she is the victim of a voodoo curse). There is nothing the doctors can do. Frank can only watch her die. Now he is quite alone, having been orphaned as a young teenager, although his relationship with Iris only fuels his psychosexual confusion.
When Anna dies Frank injects her with a preservative chemical at the funeral parlour. Later he exhumes her body and in one of horror cinema’s more revolting scenes he performs a complete evisceration including sucking out the brain matter and cranial fluid, all shown in nauseating detail. It’s the composure of the scene which is most nightmarish. But of course D’Amato pushes the boundaries just that much further and show’s us Frank chowing down on his beloved’s raw heart.
After embalming Anna’s corpse Frank sets her upstairs in the master bedroom lying pallid on the bed while he gazes at her in a state of sexual arousal. Iris joins him and in another of the movie’s undeniably errrggh! moments she assists him in getting his rocks off. Yup, this is one fucked-up flick.
Matters go from disgusting to homicidal rather quickly, as Frank’s psychosexual compulsion leads him to murdering attractive young women whom he lures back to the pad. Even Iris gets in on the killing (dismemberment, acid baths, etc), her own deranged libido desperately wanting to maintain the union with her employer. Yes, it’s a dark and disturbing spiral this movie whirls steadily into.
Beyond the Darkness is pure horror cinema. Banned for many years, partly due to rumours that D’Amato had used a real cadaver (it isn’t, but it’s a most convincing fake). D’Amato’s movie proves some of the most effective horror movies are not just about the set-pieces, but about their context and the tone in which they are executed amidst the bigger picture. Add to it the effectively melodic, but altogether haunting electronic score by Argento stalwarts Goblin and you have a strong foundation supporting a very dark core.
If you are looking for an abyss to ease yourself over, Beyond the Darkness is a most suitably precipice. Of the many facets and levels of horror cinema, the handsome revulsion and quiet hysteria of Buio Omega is most unique.
For those of you game enough here’s the link to a suitably graphic, yet still restrained, German trailer for the movie under the title Sado - Stoß das Tor zur Hölle auf (Push the Gate to Hell Up):
Beyond the Darkness ... its not work safe
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Comment by Damo
Good review
Ill Pass on the film however.
Comment by Bryn
Horrorphile
Comment by Tracy
Movies and Life
Comment by katyzzz
Photography Tips
MS Paint Art
OOOooooooOOOhhhhhh!!!!!!!!!!!! how am I doing?
katyzzz.....you must be very fond of your lair.
Comment by Bryn
Horrorphile
katyzzz ... yeaaaaah, I do like this lair ... lots of dank, dark corners and sickly sweet smells .... lol
Comment by Nickoftime's Sanity Corner
great review, but uh, not into necrophelia at all!
LOL
Like my women on the "Live" side, yanno, with pulse?
*Snicker*
Great post, as always!
Take care,
Nick
Comment by Bryn
Horrorphile
Comment by KylieW
Celebrity Obsession
Comment by Bryn
Horrorphile
Comment by charles
ZCars
Ponderous
I'll be looking around for a copy of this one ...
Charles.
Comment by Bryn
Horrorphile
Comment by charles
ZCars
Ponderous
Cheers for the offer, mate. I'm not sure if I can make it to the get together since I have a soccer match that arvo. If I do, it'll be late and I'm not sure how many of youse will still be around by the time I get there.
Charles.
Comment by JohnDoe
Film & TV on DVD
There was a sense of style that made it all more palatable, still sick and twisted but also unique and challenging..
Enjoy seeing that most would rather run away than face their fears...
Comment by Bryn
Horrorphile
JD, cheers mate ... that scene of Iris helping Frank is forever etched in my mind ...