HORROR RISES FROM THE TOMB

HORROR RISES FROM THE TOMB

A one man definition of the Spanish Horror film, Paul Naschy not only revitalized the classical the themes and trappings of classical horror movies, he made them fun again. His cinema baptizes stock figures from British and American genre cinema in a Spanish ambience, giving them a distinctive flair. At the same time Naschy made possible the merging of classic fright themes with contemporary issues, using archetypical characters and cosmic fears to mirror (and add rigor to) contemporary social ills. While his most influential and best loved character work has to be the anti-heroic werewolf, Naschy's secret, darker half is as dependent on the figure of Count Alaric de Marnac as Danansky.

A notable character actor, Naschy has worn fangs and capes as well as fur and claws. His acting range has allowed him to play demonic incarnations of various types, from the Devil himself to an assortment of demonic personages. In perhaps his most gory and shocking work, he plays a diabolical spirit of a warlock bent on revenge and chaos. In his first collaboration with director Carlos Aured, Horror Rises From The Tomb was a macabre and scandalous blend of old school themes and modern violence, creating a demonic shadow world charged with sex, gore, and an a surreal atmosphere of nightmare. After having been released in various poor quality grey market releases and a less than sterling official DVD, this wicked monster mash of wizards, the undead, and witchcraft is given the same deluxe treatment that BCI have already lavished on Night of the Werewolf and Exercismo.

Penning the film under his real name, Jacinto Molina, Naschy's script for Horror Rises from the Tomb is a marriage of traditional occult figures and exploitation devices. Such traditional characters as warlocks, zombies, all-too-real criminals, and possessed madmen are captured with magnificent colors schemes and subjective camerawork in this unholy treat from 1972. The film begins with a pre-credit sequence in Medieval France, where Warlock Alaric de Marnac (Naschy) and his seductive concubine Mabille de Lancre (Helga Line) are accused of cannibalism, Satanic worship, and murder. He is summarily beheaded and she hung naked, both spewing fourth their thirst for revenge. This desire goes unanswered until present day when Hugo (again Naschy), a descendant of Alaric, and his friend Maurice (Vic Winner) experience harbingers of death and bad luck. The two decide to bring their lovers to Hugo's isolated ancestral estate, where his evil relative committed his atrocious acts -- and wherein lie the corpses of Alaric and Mabille. A car crash and public execution later, the party arrive at the chateau, where Hugo and Maurice soon discover a chest containing . . . you guessed it! Alaric's head! As strange events occur, skin is shed, and workers reluctantly dig up the grounds, the villagers grow restless and Alaric possesses unwary servants and members of the house. An orgy of rape, beheadings, necromancy, knifings, and black magic ensue, to the delight of Euro-horror fans. When Alaric's spewing head is reattached, and his beloved Mabille is brought back to unholy life, the two so on a rampage.

Full of attitude, atmospheric locations, and a mood as drenched in shadow as characters are in blood and spittle, Horror Rises from the Tomb is an underappreciated cult classic. A sensationalistic exploitation gut-churner that wears its excess proudly on its tit and gut-smeared sleeves, this is one of Naschy's most repulsing, outlandish works. If the storyline is often uneven, and the plot includes enough material for three movies, this excess is precisely what makes it work as a horror story of epic proportions. Carlos Aured. Crafts here a film that embodies the genre's thematic roots in classic folklore while celebrating the modern storyteller's affair with more visceral and sexual imagery. Naschy's triple performances and screenplay work wonderfully with the director's eye for mood drenched perversion. While his enthusiasm sometimes gets the better of him, Naschy is never less than earnest here, and a sense of tragedy meets the scary fun as innocence is torn from characters like flimsy garments from heaving breasts -- of which there is no shortage.

While not as psychologically mature as some of his finer characters, Naschy's nobleman is engaging enough to grab our attention. Of course a majority of out interest is in the gruesome, demonic spectacle of the murders and occultism which run rampant through the picture. Both Aured and Naschy expose an ability to root occult absurdities in the midst of the everyday. Naschy is a sight to behold, ripping his way through unsuspecting visitors, as is Mabille, his undeniably erotic partner. The gloomily captured castles, graveyards, water, and countryside are characters themselves, adding a sense of foreboding and isolation to an already terrifying premise. If not easy to always take seriously, and far from subtle or refined, this bold and energetic exercise in excess is nevertheless thrilling -- a sheer spectacle whose chief purpose is to shock. It achieves this very well.

A treat after the decidedly inferior 'special edition' issued from Crash Cinema, BCI'S presentation of Horror Rises From The Tomb is a dark, gleaming gem in a year that has proved full of wonderful DVD releases. Featured complete and uncut with all of its loving nudity and violence intact, the film is presented in anamorphic 1.85:1 widescreen. Re-mastered from original elements, this High-Def edition looks and sounds superlative. Lacking any noticeable grain or print weakness, the picture is clean and strong. Colors are bold and sharp. Audio tracks in both Castilian with English Subs and Dubbed English are pleasant to listen to, although the original language option is always preferable (when given the choice). There are no issues of background noise or interference.

A wealth of supplementary material is included on this disc, creating a historical and genre context for the better appreciation of the film and both Naschy and Aured. Most informative of all is the Audio Commentary with Paul Naschy and Carlos Aured. Moderated by Angel Gomez Rivero, this commentary, in Spanish with English subs, is both informative and entertaining, covering both men's thoughts and opinions on the film, their relationship, and the genre at large. Another cheesy but loveable Introduction is given by Naschy as well, bleeding with his usual delight. This is followed by "Alternate Clothed Scenes," Deleted Scenes, a Theatrical Trailer, Spanish Credits, and a wonderful Still Gallery. Again, the attractive Booklet with Liner Notes from Lipinski is informative and well written, featuring quotes from Naschy and Aured. Another horrific home run!

Review by William P. Simmons


 
Released by Bci/Eclipse
Region 1 - NTSC
Not Rated
Extras :
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