Editorials
Who Here Has Actually Seen ‘The Evil Dead’? It’s A Horror Movie! And It’s Not All About Ash!
A couple weeks ago, the stars of the upcoming The Evil Dead remake commented on the tone of the film they’re about to shoot. It seemed to catch a lot of people off guard. Not our piece necessarily, but the fact that the talent involved (along with Bruce Campbell) were talking about a “seriously scary” movie seemed to flummox people.
Another aspect of the upcoming remake that has some people seriously freaking out? No Ash. No Ashley J. Williams. No Bruce Campbell. No Chin. Now, I love Bruce Campbell. I’ve seen Evil Dead 2 literally dozens of times. Which is why I think it’s a good thing he’s not in this movie.
You may think you want Ash in the remake too. But you don’t. Not really. Why? Because it’s a remake of The Evil Dead. Not Evil Dead 2. And there’s a huge difference.
Ash is not the embodiment of the original film. And humor’s not really a huge component either.
Hit the jump to read on. 
In 1981, The Evil Dead intended to scare and shock. That tree rape is, and is supposed to be, horrific. That’s the intent, even if the success of the tone is a mixed bag. I think that Raimi’s at-the-time experimental camera work is often the sword upon which the perception of that tone falls. Some of the shots are so ambitious and self-conscious that they come across as comedic. And while comedy may have been a component of their design, it wasn’t 100% the desired end result. I’m not saying the whole thing is intended to be humorless – it’s a smart film that winks at the conventions of its genre, but that genre is most certainly horror.
The Evil Dead takes way more time in setting up its characters than its followup. Notice that the word “character” is pluralized. There are four other major players that aren’t Ash – Cheryl, Linda, Scott and Shelly. Elements in the sequel that are exaggerated and out of nowhere – such as the bridge being blown out – are actually set up in the first act of this film. It’s an entirely different, much more grounded experience. There’s no laughing lamps, no dancing nude bodies, no vortex, no rotating Ash flying through the woods. And even though it may use less buckets of blood than its more famous younger sibling – it feels twice as brutal. Even if Ash keeps his hand.
When the time came to make the sequel – six years had passed. And I get the feeling that Raimi was more interested in examining and celebrating the weaknesses of his original work than he was in revisiting its actual mindset. Which could be why Evil Dead 2 and Army Of Darkness have that madcap “Looney Tunes” aesthetic that is almost completely absent from the 1981 film. In essence – Evil Dead 2 is a spoof of The Evil Dead. I’m not saying the sequel isn’t awesome – it is. I’m not saying it doesn’t count as horror – it does. But tonally, it’s about almost as night and day different as Hot Shots is from Top Gun.
When people walked out of the premiere of the original Evil Dead on October 15th, 1981 in Detroit, Michigan – I’m willing to bet what the first thing on their tongues wasn’t. Bruce Campbell. Sure, he’s the hero of the film. Yes, even back then he displayed a great deal of charisma. But this wasn’t a one person show a la Evil Dead 2 and there were other cast members to account for. But none of them were really the stars either. The star of Evil Dead? The film itself. I’m not saying this to detract from any of the casts’ contributions to the film or Campbell’s deserved legacy and iconic status – I’m just saying none of them were the identity of the movie.
Ash is certainly a character in The Evil Dead. He even turns out to be the hero (albeit in a much more toned-down manner than in the subsequent films). The setup was a standard ensemble ‘Cabin In The Woods’ film. Structurally, it’s essentially a slasher movie – but with demons, possession and rapey trees in place of a guy with a knife. Sure, Ash becomes the hero and takes on the demons – but that’s what happens at the end of every slasher movie. He’s not a superhero in this one.
What is the identity of Evil Dead? The tone. The effects. The gore. The spirit. The invigorating roaming POV shots. The fact that the demons hang in the air like tortured marionettes. The fact that, instead of holding back on its meager budget, the film went all the way. But it wasn’t necessarily going all the way to make you laugh, it was going all the way to shock and scare you. It’s actually a remarkable achievement given the budget and the age of the crew who pulled it off. When people were walking out of that theater, they weren’t talking about how Ash held a shotgun – they were talking about the experience. The experience was the star.
When you heard that Friday The 13th was being remade, what was more important to you? Bringing back Mrs. Voorhees or bringing back Jason himself? Even though Jason wasn’t in the first film – he’s the identity of that franchise. And if Evil Dead 2 hadn’t taken such a radical left turn – Ash wouldn’t be the identity of this franchise. The tone and experience would be.
So if one were to attempt anything new associated with this brand – offering an updated version of that experience is really the only thing that makes sense. It’s the only thing the producers of the new film – which include Sam Raimi – could even hope to get right. And that’s what Fede Alvarez, Rodo Sayagues and Diablo Cody have all stated as their intent. To bring that insane, f*cked up aesthetic to the screen. Of course the film should have great characters – it just doesn’t matter as much which specific characters they happen to be. It certainly didn’t matter in the 1981 film. No one who walked into that even knew who Bruce Campbell was. And they certainly weren’t expecting him to say “work shed”.
The one thing they for sure wouldn’t get right? Remaking Evil Dead 2. It’s a good thing they’re not even trying. And if they f*ck up The Evil Dead – which could happen – I’ll be as upset as the rest of you.
Let’s just be clear on which film they’re remaking. Not because I’m defending the remake necessarily, but because the existence of the remake has exposed the fact that not that many people have watched the original Evil Dead! And if they have, they’re certainly not remembering it properly.
Don’t you think it deserves better than that? Do me a favor – if you haven’t seen it in the past 10 years, watch it this weekend. Ask your friends who love Evil Dead 2 if they’ve actually seen the original. If they answer “yes”, well, all of this hullabaloo indicates that they’re probably lying. Make them watch it too. It’s a horror movie. With scares. I promise.
Editorials
‘Immaculate’ – A Companion Watch Guide to the Religious Horror Movie and Its Cinematic Influences
The religious horror movie Immaculate, starring Sydney Sweeney and directed by Michael Mohan, wears its horror influences on its sleeves. NEON’s new horror movie is now available on Digital and PVOD, making it easier to catch up with the buzzy title. If you’ve already seen Immaculate, this companion watch guide highlights horror movies to pair with it.
Sweeney stars in Immaculate as Cecilia, a woman of devout faith who is offered a fulfilling new role at an illustrious Italian convent. Cecilia’s warm welcome to the picture-perfect Italian countryside gets derailed soon enough when she discovers she’s become pregnant and realizes the convent harbors disturbing secrets.
From Will Bates’ gothic score to the filming locations and even shot compositions, Immaculate owes a lot to its cinematic influences. Mohan pulls from more than just religious horror, though. While Immaculate pays tribute to the classics, the horror movie surprises for the way it leans so heavily into Italian horror and New French Extremity. Let’s dig into many of the film’s most prominent horror influences with a companion watch guide.
Warning: Immaculate spoilers ahead.
Rosemary’s Baby
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The mother of all pregnancy horror movies introduces Rosemary Woodhouse (Mia Farrow), an eager-to-please housewife who’s supportive of her husband, Guy, and thrilled he landed them a spot in the coveted Bramford apartment building. Guy proposes a romantic evening, which gives way to a hallucinogenic nightmare scenario that leaves Rosemary confused and pregnant. Rosemary’s suspicions and paranoia mount as she’s gaslit by everyone around her, all attempting to distract her from her deeply abnormal pregnancy. While Cecilia follows a similar emotional journey to Rosemary, from the confusion over her baby’s conception to being gaslit by those who claim to have her best interests in mind, Immaculate inverts the iconic final frame of Rosemary’s Baby to great effect.
The Exorcist
William Friedkin’s horror classic shook audiences to their core upon release in the ’70s, largely for its shocking imagery. A grim battle over faith is waged between demon Pazuzu and priests Damien Karras (Jason Miller) and Lankester Merrin (Max von Sydow). The battleground happens to be a 12-year-old, Regan MacNeil (Linda Blair), whose possessed form commits blasphemy often, including violently masturbating with a crucifix. Yet Friedkin captures the horrifying events with stunning cinematography; the emotional complexity and shot composition lend elegance to a film that counterbalances the horror. That balance between transgressive imagery and artful form permeates Immaculate as well.
Suspiria
Jessica Harper stars as Suzy Bannion, an American newcomer at a prestigious dance academy in Germany who uncovers a supernatural conspiracy amid a series of grisly murders. It’s a dance academy so disciplined in its art form that its students and faculty live their full time, spending nearly every waking hour there, including built-in meals and scheduled bedtimes. Like Suzy Bannion, Cecilia is a novitiate committed to learning her chosen trade, so much so that she travels to a foreign country to continue her training. Also, like Suzy, Cecilia quickly realizes the pristine façade of her new setting belies sinister secrets that mean her harm.
What Have You Done to Solange?
This 1972 Italian horror film follows a college professor who gets embroiled in a bizarre series of murders when his mistress, a student, witnesses one taking place. The professor starts his own investigation to discover what happened to the young woman, Solange. Sex, murder, and religion course through this Giallo’s veins, which features I Spit on Your Grave’s Camille Keaton as Solange. Immaculate director Michael Mohan revealed to The Wrap that he emulated director Massimo Dallamano’s techniques, particularly in a key scene that sees Cecilia alone in a crowded room of male superiors, all interrogating her on her immaculate status.
The Red Queen Kills Seven Times
In this Giallo, two sisters inherit their family’s castle that’s also cursed. When a dark-haired, red-robed woman begins killing people around them, the sisters begin to wonder if the castle’s mysterious curse has resurfaced. Director Emilio Miraglia infuses his Giallo with vibrant style, with the titular Red Queen instantly eye-catching in design. While the killer’s design and use of red no doubt played an influential role in some of Immaculate’s nightmare imagery, its biggest inspiration in Mohan’s film is its score. Immaculate pays tribute to The Red Queen Kills Seven Times through specific music cues.
The Vanishing
Rex’s life is irrevocably changed when the love of his life is abducted from a rest stop. Three years later, he begins receiving letters from his girlfriend’s abductor. Director George Sluizer infuses his simple premise with bone-chilling dread and psychological terror as the kidnapper toys with Red. It builds to a harrowing finale you won’t forget; and neither did Mohan, who cited The Vanishing as an influence on Immaculate. Likely for its surprise closing moments, but mostly for the way Sluizer filmed from inside a coffin.
The Other Hell
This nunsploitation film begins where Immaculate ends: in the catacombs of a convent that leads to an underground laboratory. The Other Hell sees a priest investigating the seemingly paranormal activity surrounding the convent as possessed nuns get violent toward others. But is this a case of the Devil or simply nuns run amok? Immaculate opts to ground its horrors in reality, where The Other Hell leans into the supernatural, but the surprise lab setting beneath the holy grounds evokes the same sense of blasphemous shock.
Inside
During Immaculate‘s freakout climax, Cecilia sets the underground lab on fire with Father Sal Tedeschi (Álvaro Morte) locked inside. He manages to escape, though badly burned, and chases Cecilia through the catacombs. When Father Tedeschi catches Cecilia, he attempts to cut her baby out of her womb, and the stark imagery instantly calls Alexandre Bustillo and Julien Maury’s seminal French horror movie to mind. Like Tedeschi, Inside’s La Femme (Béatrice Dalle) will stop at nothing to get the baby, badly burned and all.
Burial Ground
At first glance, this Italian zombie movie bears little resemblance to Immaculate. The plot sees an eclectic group forced to band together against a wave of undead, offering no shortage of zombie gore and wild character quirks. What connects them is the setting; both employed the Villa Parisi as a filming location. The Villa Parisi happens to be a prominent filming spot for Italian horror; also pair the new horror movie with Mario Bava’s A Bay of Blood or Blood for Dracula for additional boundary-pushing horror titles shot at the Villa Parisi.
The Devils
The Devils was always intended to be incendiary. Horror, at its most depraved and sadistic, tends to make casual viewers uncomfortable. Ken Russell’s 1971 epic takes it to a whole new squeamish level with its nightmarish visuals steeped in some historical accuracy. There are the horror classics, like The Exorcist, and there are definitive transgressive horror cult classics. The Devils falls squarely in the latter, and Russell’s fearlessness in exploring taboos and wielding unholy imagery inspired Mohan’s approach to the escalating horror in Immaculate.
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