The House by the Cemetery 4K 1981 Ultra HD 2160p

Story Movie

Husband, wife and little son move from New York to Boston and live in a house on the edge of the cemetery. Once upon a time, the mysterious Doctor Freidstein lived here, whose grave is in the center of the house. At night, the inhabitants of this place are disturbed by mysterious noises coming from the basement. The head of the family takes courage and opens the basement door, but it would be better if he did not.

Review 4K Movie

Initially, Lucio Fulci conceived a whole series of paintings dedicated to hell, whose bowels are opening up in various places. However, the circumstances turned out so that it turned out only an unspoken trilogy, where in each film there was some blatant human catalyst for the acquisition of unprecedented power by evil, and also the main role was invariably attended by the British actress Katriona McCall, whose heroines left pragmatic New York, arriving in quiet, but ominous gave, full of unkind rumors and legends. Taking a frequent genre story about a certain damned house, where the family settles, the director with his longtime friend, screenwriter Dardano Sacchetti and his wife Eliza Briganti, invented a story that was not at all so unambiguous as it seems at first. The main clue to its consideration lies in the closing quote of the classic of literature Henry James, making a curtsy towards children. Undisguisedly inspired by his story "The Turn of the Screw", Fulci follows one of his basic principles - to make a fantastic movie. The author has always characterized personal works with fantasies, avoiding the simplified definition of "horror films". The production deliberately focuses on an almost plotless basis, when the director is interested in feelings and images that give a powerful atmosphere of something frightening, unsaid and supernatural, which is not subject to a rational approach. Even with a certain hidden irony, one can notice that the main participants in the events, who are people of science, are demonstratively powerless before the omnipotent mystical nature, wandering enchanted blind people in order to turn into fallen victims or loyal adepts - the approach of reason here is doomed to failure. The aura of the immense, evil and mysterious brings the story closer to the adaptation of a frightening nightmare, where there is no place for hope of salvation. From the very beginning to the simultaneously beautiful and sad musical motif that permeates the entire timing of the tape, the viewer at a subconscious level already feels the fatal outcome.

Fulci doesn't care about adult heroes here. He concentrates and presents events through the prism of children who are not yet accustomed to drowning out unerring intuition with imposed stereotypes of the mind, which rejects the primordial in the subconscious. The guys on the screen feel the seed of evil in their gut, creating a close relationship with each other, communicating at a distance, which is what the director wanted to achieve in dialogue with the viewer, who would deeply immerse himself in the nightmare he created, enjoying exclusively the sensations. Minimally using the night time, the narrative is constantly shrouded in a barely noticeable haze, an almost blurry foggy veil, as if the whole area and the house are a deceptive obsession that once visited the child in an afternoon prophetic dream - here again you should pay attention to the subject of inspiration, because the story is curious not only the enchanting atmosphere of a gloomy story about evil ghosts near young children, but the obscurity of events without clear facts, when the reader is forced to believe or not believe himself, looking for personal interpretations. Such is the film, too - a frightening fantasy that changes outlines and forms, where much is not subject to the passage of time, turning history into a kind of general interval of the frozen Between, when it is no coincidence that a family that has arrived is mistaken for already being here, as if everything was mixed in a damned place, disrupting the flow of years. In the previous gates of hell, its boundaries were distorted, when the beginning was the end and vice versa, wherever you look with already blind eyes, and here time is devilishly perverted, entangling the past, present and future into something one, entangled in a tangled ball among the graves. Surprisingly, this fantasy of Fulci is far from so simple, if you remember this, carefully looking through the picture not for the first time, noticing hidden symbols that the author did not want to open, leaving only clues, like a true artist who claims that he is exploring the multifaceted Hell in their canvases on the screen. For example, compare the immortal scientist, crying in contrast, like a little child, and the way to save the boy from the fateful basement, remembering the obsessive nightmare that repeats itself from time to time, as well as the mysterious girl, for whom all events are predetermined in advance, as if she had already lived them - just dream up, because this is what the director wanted, inserting an important phrase into the epilogue.

Keeping in mind the course for the "hellish trilogy", the author again considers in the plot not something simplified one thing - an ominous scientist or an obsessed house, but moves from the particular to the general, therefore the culminating terrible secret ideologically turns out to be a small grain of an invented boundless hell that invisibly went beyond its limits, enveloping the entire cursed area with an unkind aura, adversely affecting those living nearby. These "third gates of hell" from Fulci are perhaps the most unhurried, leaving a riot of nightmares in reality for a bright apogee, and previously the director tries to get as close as possible to disturbing dreams only with expressive close-up shots of the eyes, frightening symbolism of dark panoramas and musical accompaniment. Awesome work with sound delicately conveys the desired effect, flirting with the ghostly echoes, faint hum and crying of children, constantly maintaining the viscous atmosphere of a bad dream in the frame. The muted colors of the gray forest and autumn coolness are perfectly combined with the gloomy background of dying nature, when the horizon is permeated with bare trees with twisted branches next to ancient gravestones that surround a house on the edge of a cemetery that keeps an amazing secret, to get to which you should plunge into the surreal and truly scary nightmare from the Italian maestro Lucio Fulci.