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The Beyond (Italian: ...E tu vivrai nel terrore! L'aldilà, lit. "...And you will live in terror! The afterlife"), is a 1981 Italian supernatural horror film directed by Lucio Fulci, and starring Catriona MacColl and David Warbeck. Its plot follows a woman who inherits a hotel in rural Louisiana that was once the site of a horrific murder, and which may be a gateway to hell. It is the second film in Fulci's "Gates of Hell" trilogy after City of the Living Dead (1980), and was followed by The House by the Cemetery (1983).

The Beyond
Italian theatrical release poster by Enzo Sciotti
Directed byLucio Fulci
Produced byFabrizio De Angelis
Screenplay by
  • Lucio Fulci
  • Giorgio Mariuzzo
  • Dardano Sacchetti
Story byDardano Sacchetti
Starring
  • Katherine MacColl
  • David Warbeck
  • Sarah Keller
  • Antoine Saint-John
  • Veronica Lazar
Music byFabio Frizzi
CinematographySergio Salvati
Edited byVincenzo Tomassi
Production
company
Fulvia Film
Distributed byMedusa Distribuzione
Release date
  • 29 April 1981 (1981-04-29)
Running time
87 minutes
CountryItaly
LanguageEnglish

Filmed on location in and around New Orleans in late 1980, additional photography took place at De Paolis Studios in Rome. Released theatrically in Italy in the spring of 1981, The Beyond did not see a North American theatrical release until late 1983 through Aquarius Releasing, who released an alternate version of the film titled 7 Doors of Death; this version featured an entirely different musical score and ran several minutes shorter than Fulci's original cut. The film was eventually shown by Quentin Tarantino in the United States in its original form in September 1998 after it was acquired by Grindhouse Releasing.

Following its release, many critics of The Beyond commented on its surrealistic qualities and cinematography, though faulted it for its narrative inconsistencies. Despite this, The Beyond is ranked among Fulci's most celebrated films, and has gained an international cult following over the ensuing decades.

Screenplay

In Louisiana's Seven Doors Hotel in 1927, a lynch mob murders an artist named Schweick, whom they believe to be a warlock. Schweick was in the middle of finishing a grotesque painting, which is seen as evidence of the mob's belief. This opens one of the Seven Doors of Death, allowing the dead to cross into the world of the living. Several decades later, Liza Merrill, a young woman from New York City, inherits the hotel and plans to re-open it. Her renovation work activates the hell portal, and she contends with increasingly strange incidents. A plumber named Joe investigates flooding in the cellar and a demonic hand gouges out his eye. His body and another are later discovered by a hotel maid, Martha.

Liza encounters a blind woman named Emily, who warns that reopening the hotel would be a mistake. Joe's wife Mary-Anne and their daughter Jill arrive at the hospital morgue to claim Joe's corpse. After tending to her late husband's corpse, Mary-Anne screams in terror which causes her to fall to the floor; Jill finds her mother lying on the floor unconscious, her face burned by acid that toppled over from the impact. As she tries to flee, Jill encounters a corpse coming back to life. Meanwhile, Liza meets with Dr. John McCabe and receives a phone call informing her of Mary-Anne's death. After the funerals, it's revealed that Jill has become a ghoul. Later, Liza encounters Emily at the hotel. Emily tells Liza the story of Schweick, and warns her to not enter Room 36. When Emily examines Schweick's painting, she begins to bleed and flees the hotel. Liza attempts to go after Emily, but notices that her own footsteps are audible, while those of Emily and her guide dog aren't.

Liza ignores Emily's advice and investigates Room 36. She discovers an ancient book titled Eibon and sees Schweick's corpse nailed to the bathroom wall. She flees the room in terror, but is stopped by John. She takes him to Room 36, but both the corpse and the book are gone. Liza describes her fearful encounters with Emily, but John insists that Emily is not real. While in town, Liza spots a copy of Eibon in the window of a book store, but when she rushes in to grab it, a different book is in its place. The shop owner says the book has been there for years, prompting Liza to remark to John that perhaps it is all in her head. At the hotel, a worker named Arthur attempts to repair the same leak as Joe, but is killed off-screen by ghouls.

Liza's friend Martin Avery visits the public library to find the hotel's blueprints revealing a large unknown space in the center. He becomes curious but is struck by a sudden force and falls from a ladder, resulting in paralysis. Spiders appear out of nowhere and swarm over his body, ravaging his face and killing him. Back at the hotel, Martha is cleaning the bathroom in Room 36 when Joe's animated corpse emerges from the bathtub. Joe pushes her head into one of the exposed nails where Schweick's corpse was earlier, killing her and gouging one of her eyes. Later, the walking corpses of Schweik, Joe, Mary-Anne, Martin and Arthur invade Emily's house due to her warning Liza about the impending doom. She orders with them to leave her alone, and insists she will not return with Schweick. She commands her dog to attack the corpses, and they're scared away. The dog - after apparently becoming undead by the zombies - then turns on Emily, tearing out her throat and her ear.

At the hotel, spirits terrorize Liza while John breaks into Emily's house - which appears to have been abandoned for years - and finds Eibon. He returns to the hotel and tells Liza that the place is a gateway to Hell. A sudden force roars and bleeds all over them, making them to flee to the hospital, which has been overrun by zombies. Liza is attacked, but John gets a gun out of his desk and shoots the shambling corpses. Only Dr. Harris and Jill are found still alive, but Harris is killed by flying shards of glass. Liza, John and Jill try to flee, but are confronted by Schweick's corpse. No matter how many times he is shot by John, he continues his pursuit. Jill finally attacks Liza and John is forced to kill the girl.

Escaping Schweick and the zombies, John and Liza rush down a set of stairs but find themselves back in the basement of the hotel. They move forward through the flooded labyrinth and stumble into a supernatural wasteland. No matter which direction they travel, they find themselves back at their starting point. They are ultimately blinded just like Emily and hear a voice say "And you will face the sea of darkness, and all therein that may be explored". The film then fades out to reveal the land looks exactly like Schweick's painting.

  • Catriona MacColl as Liza Merril (as Katherine MacColl)
  • David Warbeck as Dr. John McCabe
  • Cinzia Monreale as Emily (as Sarah Keller)
  • Antoine Saint-John as Schweick
  • Veronica Lazar as Martha
  • Larry Ray as Larry (as Anthony Flees)
  • Giovanni De Nava as Joe the Plumber / Zombie Schweick
  • Al Cliver as Dr. Harris
  • Michele Mirabella as Martin Avery
  • Gianpaolo Saccarola as Arthur
  • Maria Pia Marsala as Jill
  • Laura De Marchi as Mary-Anne

John Thonen of Cinefantastique noted The Beyond as having "a story structure akin to that of an advanced fever dream." Film scholar Wheeler Dixon similarly notes this element, writing the "slight framing narrative is merely the excuse for Fulci to stage a series of macabre, distressing set pieces." While the film's narrative format has been noted for these features, writer Bill Gibron suggests the film has a subtext of "slavery, witchcraft, mob justice—and perhaps the key to almost all Fulci narratives—revenge" at its core.

The concept of "the beyond," which the characters Liza and John enter in the films' final sequence, is interpreted by film writer Meagan Navarro as a statement on "the Catholic concept of purgatory." Fulci himself was a lapsed Catholic, and previous films of his such as Don't Torture a Duckling (1972) had dealt with corruption among clergy.

A prominent theme identified by film scholar Phillip L. Simpson is that of blindness as a result of exposure to evil, specifically tied to the Book of Eibon: "The book, like many other (in)famous "evil" books found in literature and cinema, is a physical, written record of valuable occult knowledge that attempts to codify—accompanied by dire warnings that careless or ignorant deployment of that power will result in horrific consequences—what is otherwise usually represented as literally "unseeable." Simpson interprets the film's "pervasive images of blindness and eye mutilation" as being directly consequential to characters' exposure to the book. Simpson points out that only Schweick, the warlock lynched in the film's 1927 prologue, and Emily, a "seeress who transcends temporality," possess the "necessary sight" to interpret the contents of the book.

Screenplay

Producer Fabrizio De Angelis noted that on his previous collaboration with Fulci, Zombi 2 (1979), they had aspired to make "a comic book movie...  that is, instead of being scared, people would laugh when they saw these zombies." Instead, audiences largely responded with fear, prompting them to make a straightforward horror film. After making City of the Living Dead (1980), Fulci sought to make a follow-up film as part of a trilogy with the "Gates of Hell" being a unifying theme. Simpson describes the trilogy as being loosely "connected by the trope of hapless mortals literally living on top of an entrance to Hell and then inadvertently falling into it."

The hotel is an excuse, the characters are an excuse—what counted was the weaving of pure emotions.

– Dardano Sacchetti on the arbitrary nature of the film's setting

The base concept for The Beyond was devised by Fulci, Giorgio Mariuzzo, and Dardano Sacchetti. A poster designed by Enzo Sciotti was produced based solely on the treatment in hopes of selling the film to international markets, and the film's title was chosen based on a conversation between Fulci and De Angellis. De Angelis recalled Fulci discussing the film's concept with him: "So he's telling me this story about a couple moving into a house, where underneath is hell. And I was like, "What does this mean?"...  there weren't any dead people, maybe killed...  No, there was hell under that house!" And he said "the beyond." And when I heard "The Beyond," that was already the title." After receiving De Angellis's approval, Fulci requested that Sacchetti begin writing a full screenplay based on the brief treatment they had completed. According to De Angellis, much of the plot was devised based on vague ideas Fulci had for various death scenes, as well as several key words that he felt unified his vision. Some elements of the screenplay were derived in an arbitrary manner, such as the design of the Eibon symbol, which Fulci based on the shape of a trivial amateur tattoo his daughter had gotten on her arm.

Sacchetti's conception of the "beyond" was based on his own ruminations on death, and the "suffering of being born condemned to death... born to be erased." Sacchetti sought to depict the beyond as a hell full of dead souls, an otherworld existing "outside of Euclidean geometry."The Beyond Film

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