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THE EVIL DEAD
* * * * (1981, 85 minutes, Unrated)
A Classic -- And we don't just mean the Oldsmobile.
The Bargain Bin Review is sometimes mistaken for a horror site, but that’s only because at least
half of the low budget movies out there are horror films. No, that’s not a scientific measurement -- I
just pulled that out of my butt -- yet it seems true enough, maybe even an under-estimate.
It’s easy to see why a first-time filmmaker might go with horror: One doesn’t need a stellar script or
strong actors, just some friends in a creepy setting and a vat of red corn syrup. But actually doing
something unique with those simple elements is a different story. So while the premise of The Evil
Dead is very simple -- group of friends in a cabin being terrorized -- there’s no question as to how
this film launched Sam Raimi’s career.
We open with a carload of youths (including Raimi's childhood friend, Bruce Campbell, in his
feature debut as Ash) on their way to a weekend getaway at a cabin in the woods. That special
* * * * (1981, 85 minutes, Unrated)
A Classic -- And we don't just mean the Oldsmobile.
The Bargain Bin Review is sometimes mistaken for a horror site, but that’s only because at least
half of the low budget movies out there are horror films. No, that’s not a scientific measurement -- I
just pulled that out of my butt -- yet it seems true enough, maybe even an under-estimate.
It’s easy to see why a first-time filmmaker might go with horror: One doesn’t need a stellar script or
strong actors, just some friends in a creepy setting and a vat of red corn syrup. But actually doing
something unique with those simple elements is a different story. So while the premise of The Evil
Dead is very simple -- group of friends in a cabin being terrorized -- there’s no question as to how
this film launched Sam Raimi’s career.
We open with a carload of youths (including Raimi's childhood friend, Bruce Campbell, in his
feature debut as Ash) on their way to a weekend getaway at a cabin in the woods. That special
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| The Evil Dead is also the film debut of "The Classic" (playing the role of Car With No Functioning Radio), a 1973 Oldsmobile Delta 88 that has appeared in every one of Sam Raimi's films. |
brand of Raimi humor is quickly
on display with an always
helpful “Dangerous Bridge”
sign. “Don’t let the noise fool ya,
girls,” assures Scotty, the
prerequisite d-bag, as they drive
over the crumbling bridge, “This
thing is as solid as a rock!”
But don’t get this film confused
with the half-sequel/half-
remake, Evil Dead 2 -- this is
first and foremost a horror film
with a radically different tone
than its 1992 sequel, Army of
Darkness. In fact, the early
portion of the film sets up an
on display with an always
helpful “Dangerous Bridge”
sign. “Don’t let the noise fool ya,
girls,” assures Scotty, the
prerequisite d-bag, as they drive
over the crumbling bridge, “This
thing is as solid as a rock!”
But don’t get this film confused
with the half-sequel/half-
remake, Evil Dead 2 -- this is
first and foremost a horror film
with a radically different tone
than its 1992 sequel, Army of
Darkness. In fact, the early
portion of the film sets up an
more akin to a haunted house film, what with the slamming shutters and clanking chains and
ominous music and whatnot. It’s the kind of film that can actually get some mileage out of a trap
door popping open on its own -- something that would have been a ham-fisted jump-scare in the
hands of a lesser director. If D-Bag Scotty showed up with a sheet over his head, I would not have
been the least bit surprised.
Speaking of D-Bag Scotty, he’s send down into the dark, dark basement to investigate, partially
because he’s the most annoying and partially because it gives him the chance to jump out at Ash
five minutes down the road. There, they find an old shotgun, a creepy-looking book and a bunch of
tapes. Ash listens to the tapes, an account of the researchers who used that cabin to study the
“Book of the Dead” (that’d be the creepy-looking book), a how-to manual for demon possession.
Not only do the tapes provide a more interesting and natural exposition drop than having Some Old
Coot show up, but it’s far more atmospheric, too.
Of course, the conveniently timed thunderstrikes help.
ominous music and whatnot. It’s the kind of film that can actually get some mileage out of a trap
door popping open on its own -- something that would have been a ham-fisted jump-scare in the
hands of a lesser director. If D-Bag Scotty showed up with a sheet over his head, I would not have
been the least bit surprised.
Speaking of D-Bag Scotty, he’s send down into the dark, dark basement to investigate, partially
because he’s the most annoying and partially because it gives him the chance to jump out at Ash
five minutes down the road. There, they find an old shotgun, a creepy-looking book and a bunch of
tapes. Ash listens to the tapes, an account of the researchers who used that cabin to study the
“Book of the Dead” (that’d be the creepy-looking book), a how-to manual for demon possession.
Not only do the tapes provide a more interesting and natural exposition drop than having Some Old
Coot show up, but it’s far more atmospheric, too.
Of course, the conveniently timed thunderstrikes help.
| Here is the beauty of low-budget films: low-buget solutions. To achieve that Raimi-Cam effect, the filmmakers invented the "shaky cam," which is literally two crew members running around with a camera attached to a wooden board. |
It’s here that the camera becomes one of
the lead characters. And it’s more than just
the kind of killer’s point of view that John
Carpenter perfected in Halloween (though
that’s on display, too) -- it‘s the Raimi-Cam.
You know the Raimi-Cam (or the "Shaky
Cam," as he calls it): A low-to-the-ground
point of view, speeding through the forest to
its destination. It’s such a simple effect, yet
brilliant in establishing the inherent
beastliness of the unseen evil.
Another example of the brilliance of this
film? After one of the girls is infamously
assaulted by possessed trees (it’s tempted
to draw some bigger message from nature
raping humans after generations of
the lead characters. And it’s more than just
the kind of killer’s point of view that John
Carpenter perfected in Halloween (though
that’s on display, too) -- it‘s the Raimi-Cam.
You know the Raimi-Cam (or the "Shaky
Cam," as he calls it): A low-to-the-ground
point of view, speeding through the forest to
its destination. It’s such a simple effect, yet
brilliant in establishing the inherent
beastliness of the unseen evil.
Another example of the brilliance of this
film? After one of the girls is infamously
assaulted by possessed trees (it’s tempted
to draw some bigger message from nature
raping humans after generations of
humans raping nature, but I’m not going to), the characters all decide to leave. How often does
that happen? Unfortunately, that “dangerous bridge” isn’t a bridge anymore.
From this point on, the gang gets possessed one by one and turns on the others in the noisiest
way possible until only Ash remains. The effect of becoming possessed (or turning into a
that happen? Unfortunately, that “dangerous bridge” isn’t a bridge anymore.
From this point on, the gang gets possessed one by one and turns on the others in the noisiest
way possible until only Ash remains. The effect of becoming possessed (or turning into a
| Cream of Wheat: The stuff that nightmares are made of. |
“deadite,” as they’re referred to in Evil Dead films) calls for
increasingly absurd make-up and effects, building up to
severed limbs spraying skim milk and quivering deadite
body parts. And… Is that cream of wheat oozing out of that
deadite at the end?
In true horror film tradition, the film ends with a faux happy
ending (everyone’s dead, but it’s a sunny morning - yay?)
with a last-minute twist (what’s that behind you!).
And I couldn’t help but think that The Evil Dead is the film
Troll 2 really wanted to be. Check it out:
increasingly absurd make-up and effects, building up to
severed limbs spraying skim milk and quivering deadite
body parts. And… Is that cream of wheat oozing out of that
deadite at the end?
In true horror film tradition, the film ends with a faux happy
ending (everyone’s dead, but it’s a sunny morning - yay?)
with a last-minute twist (what’s that behind you!).
And I couldn’t help but think that The Evil Dead is the film
Troll 2 really wanted to be. Check it out:
|
The Evil Dead was selected as the LAMB's Movie Of The Month -- be sure to
check the comments box for a full link of the LAMB's coverage. You can
also enjoy second opinions from these Friends of The 'Bin:
check the comments box for a full link of the LAMB's coverage. You can
also enjoy second opinions from these Friends of The 'Bin: