Directed by:
Sam RaimiScreenplay:
Sam RaimiCinematography:
Tim PhiloComposer:
Joseph LoDucaCast:
Bruce Campbell, Ellen Sandweiss, Richard DeManincor, Betsy Baker, Theresa Tilly, Ted Raimi, Scott Spiegel, Sam Raimi, Ivan Raimi, John Cameron (more)VOD (1)
Plots(1)
Story of five college-age friends who travel to a cabin in rural Tennessee where they stumble upon the Book of the Dead, an ancient tome bound in human flesh and inked in blood. After unwittingly awakening the unspeakable terror told of in the book, each of the friends is transformed into the evil dead, one by one, except for Ash (Bruce Campbell). So, Ash is left with no other way to survive than to dismember the living corpses of his sister, girlfriend, and two of his friends. (official distributor synopsis)
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Reviews (13)
Since the remake is knocking on the door, I decided to watch the original 1981 film without being some kind of horror movie fan. And I have to say that this 30+ year old film does not do the genre any shame. Many of the scenes are nicely paced, the atmosphere is thick, and the visual effects are quite well done for the time (the rape in the woods was really scary). Otherwise, the make-up artists also did a great job and created more than one hideous face.
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So I caught up on my biggest and hopefully last horror outstanding debt. I've been heavily skeptical of this film for three years now, it got worse after the remake became my favourite, but in the end The Evil Dead is a decent demonic genre film even today. The visual effects weren't too bad after all, there’s also quite a lot of gore for its age and the atmosphere is quite dark, though it dragged before the film got going. When I compare it to Halloween where blood is a foreign concept to the filmmakers and it is only two years younger, I have to give it a strong rating here. The remake, however, is well beyond insane. 70%.
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The first half is excellent. With a minimum of resources, Raimi manages to evoke an oppressive atmosphere of fear. The tree rape scene is something that is not easily forgotten. But the second half is terribly jumbled, as if Raimi didn't know what he wanted to do and was paying for his inexperience as a filmmaker. What I mean is that the scenes are poorly sequenced. In one scene there is a brutal death, and in the one that immediately follows, the characters look uninterested, as if not much had actually happened a few minutes before. I consider Evil Dead to be merely a good, not great, precursor to the flawless sequel.
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The cult value, of course, prevails. If it hadn't become such a theme, there would be no reason to revisit this slasher, but history would have it otherwise. Today, however, the first film is like a bit of Deja vu, a strange sense of Ash having two hands, of not making fun of the Necronomicon yet, because this is the actual first encounter with evil. And, of course, Bruce is still a young innocent man here. It's interesting, but other parts of the Evil Dead phenomenon have more charm for me.
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If you watch it alone, The Evil Dead seems like a depressing horror movie about a descent into madness beyond the boundaries of rational certainties. In the cinema, those levels are still there, but the entertainment value of the whole work stands out more, and that includes the unintentional elements, from the characters and their behaviour to the film’s low-budget roots, which are evident in the out-of-focus shots, among other things. At the same time, however, Raimi’s talent and creative brilliance become fully apparent on the big screen. The Evil Dead is an essential entry among the legends of enthusiastic amateurs who simply got together with some friends, picked up a camera and shot a genre milestone that opened the door to the wide world of professional productions. But the reason that thousands of others set out on the same path but only a few filmmakers actually succeed in graduating to the Hollywood big league consists in the level of talent. It’s not about Raimi picking up a camera, but everything that he does with it and how. With deflected angles and exalted gestures, poses and precise framing, he not only displays his disposition for almost comic-bookish expressive visuality, but also perfectly draws attention away from the limitations of the production environment and fascinates viewers in every respect through intense scenes.
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