The Beyond

1981

Horror

105
IMDb Rating 6.8 10 19,886

Synopsis


Downloaded times
October 27, 2020

Director

Cast

720p.BLU 1080p.BLU
804.16 MB
1280*720
Italian 2.0
NR
23.976 fps
87 min
P/S N/A / N/A
1.46 GB
1920×1080
Italian 2.0
NR
23.976 fps
87 min
P/S N/A / N/A

Movie Reviews

Reviewed by eibon09 10 / 10 / 10

Fulci's Masterpiece of Pure Imagery

L'Aldila/The Beyond(1981) is the film that brought interest in the cinema of Lucio Fulci. I became a big fan of his work after watching this movie. Have seen a good portion of his films since. The opening prologue is shot in a gorgeous sepia color. The murder/torture of Schweick represents the censorship and repression of the artist. Anchor Bay did a excellent job in the restoration of the film for DVD. The chain whipping scene in it is a repeat of the one in Don't Torture a Duckling(1972). The chain whipping in The Beyond is much more gory. There are a couple of reasons why the chain whipping scene in Don't Torture a Duckling is more powerful and potent then in The Beyond. The scenes take place in natural settings. Goes for violent realism. The death of Maciara is depressing to watch. L'Aldila(1981) was part of a trilogy called the 7 gates trilogy. This started with The Gates of Hell(1980), continued with this film, and was to end with The Beyond 2. Unfortunately, this trilogy would never be completed. This is a shame because I would have loved to see that film to know if it was good as the first two movies of the trilogy. The original intentions of The Beyond are different from the final results. This was because of budget and time restrictions. I wonder how much better the pic might have been with a modest budget and a little more time. The make up effects is one of the film's best features. Despite the low budget, Giannetto De Rossi's effects are spectacular. The effects are done with flair and pizazz. Giannetto De Rossi did his best when working with Fulci. The effects for the death of Joe the Plumber are very good. The best effects in the film is the scene involving the young girl near the end. The cinematography is spliced with atmosphere and style. Sergio Salvalti contributes to the film's gothic flavour. The cinematography contains a dreamish flow that makes the film beautiful. The score is one of my favourites for a horror film. The score fits perfectly with the scenes in the film. As good as anything done for Argento by Goblin. The Beyond(1981) is an 'Absolute Film' where image and sound are the most important part of a film. On the making of this, Fulci once said, ("My idea was to make an absolute film, with all the horrors of the world. Its a plotless film, there's no logic to it, just a succession of images"). This is something that people who hate the film don't and will never understand. Many people do not like this because of its nonlinear structure. He also said, "In Italy we make films based on pure themes, without a plot and The Beyond like Inferno refuses conventions...people who blame the The Beyond for its lack of story don't understand that it's a film of images, which must be received without any reflection". Receiving a movie like this without any reflection is a hard thing for many film goers to do. The works of Antonin Artoud and H.P Lovecraft play a major influence on The Beyond(1981). Fulci was inspired by this controversial French artist. The ideas of Artoud are present in most of Fulci's work. Schweick the painter bears a little resemblence to Antonin Artoud. Artoud was the founder of "The Theater of Cruelty" which talked to "Restore to the theater a passionate and convulsive conception of life, and it is in this sense of violent rigor and extreme condensation of scenic elements that the cruelty on which it is based on must be understood". This idea can be applied to The Cinema and this film. The comment "Violence is Italian Art" by Fulci is relative to the movie and the history of Italian art. Its one of the few films where atmosphere and gore mix well together. Has good moments of spirital horror. The atmosphere is eerie and terrifying. The gory set pieces are satisfying. The surreal atmosphere and bloody imagery is what makes the film a classic. The Beyond would influence many later American and Italian horror flicks. One, The Evil Dead(1983). Two, Hellraiser(1987). Three, Hellbound:Hellraiser 2(1988). Four, The Church(1990). Finally, Dellamorte Dellamore(1996). The Beyond(1981) will never be a mainstream favourite because its not for everyone. The themes are well written by Dardano Sacchetti. Catriona MacColl and David Warbeck are very good in the roles of the heroine and hero. Veronica Lazar from Inferno(1980) is sinister as Martha. The director did a great job with the little resources that he had to work with. The ending will haunt your dreams for days to come.

Reviewed by efrain-2 10 / 10 / 10

A true masterpiece from a legendary master of horror!

A couple of years back (late 90's), I had the pleasure of experiencing Fulci's The Beyond the way it was meant to be watched...on the big screen at the Angelica Movie Theater in Soho (NYC) at midnight, in all of its uncut glory (thanks to Quentin Tarantino's Rolling Thunder Films). For a couple of hours, I was taken aback to the greatest days of horror! It even had previous of movies like 2000 Maniacs, The Evil Dead and Zombie (aka Zombie 2) before the movie started. To truly appreciate this movie, one has to remember the era it came from. The post Exorcist and Dawn of the Dead period saw many imitations, especially from Italy. However, there were a handful of filmmakers that had actual imagination, skills and creativity to set their pictures apart from the rest. Of the bunch, Argento, Bava (father and son), and Fulci stood quite apart from the rest, each with their own talents. Fulci was perhaps the most prolific of them, adding a flare of his own Art to his works. His movies each played like paint on canvas from beginning to end. The Beyond was his greatest Masterpiece, combining a better plot than most of his works, with the high quality level of gore Fulci was and always will be well known for. The Beyond starts with a Warlock being executed in the 1930's by a lynch mob. Little do they know that the hotel where the act takes place happens to be one of the seven doorways to hell. Flashing forward about 50 years later, Liza inherets the hotel and decides to restore it. From there all hell breaks loose. The ending is as disturbing as it gets, and the deaths are both unique and horrifying (vintage Fulci). I remember walking to the subway station that night, still thinking about what my eyes had just seen (occasionally looking over my shoulder) - realizing I had been genuinely scared and disturbed by a movie that at the time was about 17 years old. Man I miss the "Hey-Day" of horror, and the true masters of it!

Reviewed by Mister-6 10 / 10 / 10

Mondo "Beyond"-o....

May I introduce you to one of the most flat-out insane Italian horror/gore movies to come down the pike. For sheer audacity, this one has no equals (or at least darn few). "E tu vivrai nel terrore - L'aldila" (or "The Beyond", as I fondly remember) is the beguilingly simple story of a cute little hotel in the deep South (Southern Louisiana, that is; NOT Southern Italy!) whose basement has an inconvenient little doorway to hell where undead warlocks, zombies, tarantulas and other creepy crawlies lurk to entomb man in darkness, death, despair and other such "D" words. I tell you, almost wall-to-wall gore FX permeate this film and the blood-drenched sensibilities of director Lucio Fulci make every scene a nail-biter, gut-wrencher, heart-stopper and probably will involve sundry other parts of your body, as well. Actors MacColl and Warbeck do their stalwart best fighting the undead and let's face it: if you've seen the very end of this film, can you seriously be scared by anything else in life? Take my advice, kids: rent this movie, buy this movie, do anything you must to get a hold of this film. If you love blood, guts and quicklime, get "E tu vivrai nel terrore - L'aldila" NOW! Ten blood-soaked stars for this beauty. And remember: DO NOT ENTRY.

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