It’s highly likely that if you’re reading a Blog entitled “House Of Freudstein”, you won’t need me to regale you with the plot of lucio fulci‘s The Beyond (1981). Just in case, though… a woman inherits a New Orleans hotel that’s apparently been built over one of The Seven Gates of Hell (d’oh, what were the odds on that?) and everyone around her starts dying. Very messily indeed. Lots of other mysterious shit happens and eventually she and her potential love interest find themselves in Hell. Literally. That’s all, folks…
Not much of a plot, is it? The enduring appeal of Fulci’s Horror masterpiece resides elsewhere than its highly disjointed narrative… in its regular, relentless outbreaks of mortifying violence and the sheer eldritch atmosphere with which it drips, thanks largely to the spellbinding score of Fabio Frizzi and exquisite, delicate / doomy photography of Sergio Salvati. Salvati buffs will have much to ponder in this handsome new 2k scan from Shameless, during the preparation of which the original colour elements of the film’s unforgettable prologue (in which an occult-inspired artist is chain-whipped, burned with quicklime and crucified by a posse of outraged rednecks) were discovered and for the first time ever, remastered.
Usually screened in a sepia-tinted variation (that must have cost them a few squid… see what I did there?), this sequence has also been released in various territories in full colour and black and white variations. In this edition you’ve got the choice of kicking the film off in any of those, plus the wholly new option of a golden “sepia on colour” (or the digital equivalent thereof) rendering. You can even, should you wish to, view all four versions simultaneously though I wouldn’t advise imbibing psychotropic drugs before doing so, unless you’re planning on spending the next few months in a rubber room.
These new perspectives on the prologue are at the forefront of Shameless’s attempt to convince you to cough up for yet another edition of The Beyond, but as an added inducement there’s a supporting compliment of tasty bonus materials, some of which you might or might not have already encountered in earlier releases. The audio commentary from stars Catriona MacColl and David Warbeck is a bittersweet affair in which a desperately feeble-sounding Warbeck maintains his customary wit and charm in the face of his own impending death. In an alternative commentary track, DP Salvati discusses many aspects of the film, over and above his lighting of it in collaboration with a trusty crew of fellow Fulci regulars (particularly interesting to hear from him that Al Cliver’s role was originally intended for Ivan Rassimov). Interviewees Giorgio Mariuzzo (who co-wrote the film with Fulci and Dardano Sacchetti), Fulci’s close personal friend Michele Mirabella (“He fed me to the tarantulas but it helped to pay the mortgage”) and beautiful Cinzia Monreale are not, of course, short on stories of Fulci’s legendary eccentricities and contrariness, indeed a clip of him taking time out from the shooting of Demonia (1990), which has been floating around since bootleg VHS days, captures the great man in particularly florid form.
Apparently Mariuzzo’s wife, the widow of Elio Petri, told him how highly Petri regarded lucio fulci as a technician. Taste makers, particularly in his own country, never afforded Fulci the same level of acclaim as Petri and co, but fuck ’em… nearly 40 years after the event, The Beyond (and many of his other films) are still being avidly consumed, analysed and cherished.
The soul that pines for eternity shall, indeed, outspan death.