Blu-ray Review: House By The Cemetery

For fans of horror movies, the early 1980s were a great time. And director Lucio Fulci’s output during this time was particularly good, and included such work as City Of The Living Dead, The Beyond, The New York Ripper, and of course The House By The Cemetery. Now The House By The Cemetery has been released as a special three-disc limited edition Blu-ray set, and it looks fantastic in its new 4K restoration. The movie stars Catriona MacColl (billed as Katherine MacColl), Paolo Malco, Ania Pieroni and Giovanni Frezza, and is a frightening and spooky tale of a family that moves into what may be a haunted house in Massachusetts. This three-disc set contains a lot of special features, including the film’s soundtrack and a booklet with a piece written by Michael Gingold.

When it opens, The House By The Cemetery has the feel of a slasher film. Its first sequence takes place inside the seemingly abandoned house, which is in a state of disrepair, with cobwebs covering everything. A good spot for a romantic liaison, right? But the couple soon discover that the house isn’t completely abandoned after all. After the woman is killed, the camera focuses on her hand, which bears a ring. Then interestingly the film shifts to the killer’s hands as he grabs her legs to drag her to the cellar, and we see that his right hand is deformed. The film is masterfully shot, even this slasher sequence. And the movie, though containing a certain amount of gore, is no slasher film. The opening credits play over a shot of the house in daylight, and as the sequence comes to a close, the camera pushes in on one of the windows, where a young girl opens the curtains to look directly at us in surprise. It’s a surprise for us too. That shot then becomes a black and white still, and as the camera pulls back from it, we find that the photo hangs on the wall of a home in New York, where a child named Bob sits, looking at the girl. Lucy (Catriona MacColl), the child’s mother, does not see the girl. How is that for an intriguing opening? We are very quickly moving away from the slasher element. This wonderfully creepy vibe that is established early on is maintained well throughout the film, and works to keep us on edge.

Lucy’s husband, Norman (Paolo Malco), is taking over the research project of a colleague who went crazy and killed himself, and has decided to take Lucy and Bob up to Massachusetts for – as he says – a little vacation. People seem to recognize Norman, though he says he’s never been there before, and the little girl from the photo begins appearing to Bob. “You shouldn’t have come, Bob,” she tells him. And soon the family is making itself at home in that big house, Lucy of course a bit unnerved that it is the same house from her husband’s photo. And as Norman gets to work, following his predecessor’s research, he begins to get obsessed with the same thing that the other man became fixated on, something that is putting his entire family in grave danger. Sure, there are some similarities to The Shining, what with a husband taking his wife and young child to a remote location so that he can write, but this film has its own style, its own vibe. And there are plenty of creepy elements, such as the mysterious babysitter and the tomb in the floor, and of course the boarded up door to the basement. It’s a frightening and spooky movie, some of which was shot in Concord, Massachusetts, near where I grew up. The only thing that mars the film is the awful voice work of whoever dubs Bob.

Disc One Special Features

This three-disc set contains a whole lot of bonus material. The first disc includes a commentary track by Troy Howarth, author of Splintered Visions: Lucio Fulci And His Films (he also provided commentary on Fulci’s The New York Ripper). Howarth talks about Fulci’s appearance in the film, and does mention the influence of The Shining. He also talks about the character of Bob, and how a lot of people hate that voice and find fault in the actor’s performance rather than the voice actor.

The first disc also includes a deleted scene, a short continuation of the bat scene, which is presented without sound, as the sound elements have been lost. There are also two trailers, a television spot, and two photo galleries featuring posters and other promotional materials.

Disc Two: Special Features

The second disc is full of bonus material, some of which was included on the 2011 video release, some of which is new. The older material includes a series of interviews with cast members. Meet The Boyles features interviews with Catriona MacColl and Paolo Malco, in which they talk about working with Lucio Fulci, about shooting in New England and about that bat scene. Catriona MacColl’s interview is conducted in English; Paolo Malco’s is in Italian. This feature is approximately fourteen minutes. Children Of The Night contains interviews with Giovanni Frezza and Silvia Collatina, who played the children in the film. Silvia mentions that her hand was used as the killer’s hand in the film. Both interviews are conducted in English. This is approximately twelve minutes. Tales Of Laura Gittleson is an interview with Dagmar Lassander, in which she talks about her film career, including an interesting anecdote about a cat. This interview is approximately nine minutes. And My Time With Terror is an interview with Carlo De Mejo, who talks about his film career, focusing on his work in horror films. This is also approximately nine minutes. Both the Dagmar Lassander and Carlo De Mejo interviews are conducted in English.

A Haunted House Story contains interviews with co-writers Dardano Sacchetti and Elisa Briganti, conducted in Italian, with English subtitles. Dardano Sacchetti mentions that death is the one thing we all have in common, though our ideas about death are different. Elisa Briganti says that the finished films are never what she imagined when writing them. They also both talk about the deliberately ambiguous ending. This feature was also from 2011, and is approximately fourteen minutes. To Build A Better Death Trap contains interviews with cinematographer Sergio Salvati, special makeup effects artist Maurizio Trani, special effects artist Gino De Rossi, and actor Giovanni De Nava. They get into some detail on several of the film’s effects. And wow, there is no way I would have been able to put that blade contraption in my mouth. They also talk about the character and look of Dr. Freudstein. These interviews are conducted in Italian. This was also included on the 2011 video release.

As for the new bonus material, House Quake is an interview with co-writer Giorgio Mariuzzo, who offers his thoughts and recollections on Lucio Fulci. Mariuzzo tells us: “Now, horror is something I make, not something I watch. I am too easily scared.” This interview was conducted in Italian, and presented with English subtitles. It is approximately fifteen minutes. Calling Dr. Freudstein is an interview with Stephen Thrower, author of Beyond Terror: The Films Of Lucio Fulci. He talks about the film, the cast, and the locations. This interview is approximately nineteen and a half minutes. The new bonus material also includes a Q&A with Catriona MacColl, which was filmed on May 10, 2014 and moderated by Calum Waddell. MacColl talks about her name being changed for the film credits, and is asked for her thoughts on the ending of the film. This feature is approximately thirty minutes.

Disc Three: Soundtrack CD

The third disc is a CD containing the film’s soundtrack. There is nearly an hour of music on it, which is surprising for a movie that is only eighty-six minutes. I didn’t realize how much music was in this film, though of course some tracks are variations on recurring themes. Most of the music was composed, arranged and conducted by Water Rizzati, with a few tracks composed, arranged and conducted by Alessandro Blonksteiner. As you might imagine, there are some good, eerie tracks, such as “Voci Dal Terrore” and “Walt Monster End.”

The House By The Cemetery was directed by Lucio Fulci. The three-disc limited edition was released on Blu-ray on  January 21, 2020 through Blue Underground.

DVD Review: In The Aisles

From the film’s opening moments in a giant grocery store after hours (set to Strauss’ “The Blue Danube”), In The Aisles has a strange and delightful beauty. It stars Franz Rogowski (Transit) as Christian, a quiet man who works stocking beverages during the night shift; Peter Kurth as Bruno, the man who trains him; and Sandra Hüller (Brownian Movement) as Marion, an attractive, but apparently troubled co-worker. In The Aisles follows Christian from his first day on the job, when he is outfitted with a blue jacket and equipped with a box cutter, and is soon putting crates onto shelves. Soon too he spies Marion working in the store’s next section.

Once the store is closed to customers, a man in the office acts as a disc jockey, playing classical music and announcing over the intercom, “Welcome to the night, colleagues.” And indeed, night at this store is its own world, with its own citizens, alliances and conflicts, even its own way of celebrating holidays. Bruno tells Christian early in the film: “We don’t get along so well with Canned Goods. With Sweets, we’re fine.” There is trouble between some departments regarding the use of forklifts. Being allowed to drive such a machine is almost an honor in this world. The employees have to prove themselves worthy, even having to pass a class on forklift use and safety. And when one is granted that honor, he is applauded by the others.

Most of the film takes place in this nighttime world. It is more than fifteen minutes into the movie before we are allowed anywhere else. The first other location the film takes us is Christian’s apartment, and it is then and there that he finally speaks at any length, and that is to us, in voice over. “There was no daylight in the aisles,” he tells us. Interestingly, it seems equally dark in his home. It is also interesting that at first the voice over is only presented at the end of a work day, that it is then that he offers his thoughts on this world. It gives us the sense that while at work, he is too focused on the job to address us. At least, at first. But soon Marion becomes his focus, though it is a while before he really speaks to her. It is she who approaches him initially, asking to join him in a coffee from the machine. While they drink coffee, he sees from her name tag that she is Sweet Goods (naturally).

There is some wonderful humor to this film, like the instructional video Christian has to watch on operating a forklift safely. Think of those graphic driver’s education films back in the day. And the courtship between Christian and Marion is adorable. Though soon Christian learns some things that may put a halt to that. And one day Marion begins ignoring him, and soon thereafter disappears.

The film is beautifully shot, and it is the cinematography as much as the performances that draws us in and endears the place to us. Because the world of the store is so clearly and fully realized, it is rather jarring when something disrupts it, as when two people from Christian’s past enter the store, giving us a glimpse of his life before this job. They so clearly do not belong, and Christian immediately goes about clearing away the evidence that they were present at all. And one night after work, when Bruno invites Christian home for a drink, we learn a little more of Christian’s past. But this stuff almost doesn’t matter to us. It is Christian’s present that we are caught up in. It is the quiet world of the store and its inhabitants that ends up meaning so much to us.

Special Features

The DVD contains a few special features, including an interview with Franz Rogowski about his character. He talks about how he was thrilled at how few lines the character had when he was first reading the script, but then how weird it was at times having entire shooting days without a line to deliver. He mentions how the film was shot at an actual store at night once it closed, and how that worked so well for him getting into character. He also talks about the story, the director’s style, and the other cast members. The interview is approximately thirteen minutes and is conducted in English. There is also a short piece on Franz Rogowski receiving a European Shooting Stars Award.

Also included is footage from The Berlin International Film Festival, including a press conference featuring the film’s producers, director and cast members. The press conference is conducted largely in German, with English translation presented in voice over, though some questions are asked in English. The actors are asked about learning to drive a forklift, and the humor of the film is discussed. This feature is approximately twenty-seven minutes. The film’s trailer is also included.

In The Aisles was directed by Thomas Stuber, and was released on DVD on September 17, 2019 through Music Box Films. It is presented in its original German, with optional English subtitles.

DVD Review: Hesburgh

Father Theodore Martin Hesburgh, president of the University of Notre Dame for thirty-five years, was an incredibly influential figure who had a talent for creating bridges between people, between ideas, even between nations, and had an important impact on the civil rights movement. He was, as is said at the beginning of the documentary Hesburgh, “one of the outstanding figures of the twentieth century.” This film tells his story, which is also – because of his impact – largely the story of the country in the last century. It is an excellent documentary about a remarkable individual.

The film is narrated by Maurice LeMarche as the voice of Father Hesburgh, a title card at the beginning of the film telling us, “Narration inspired by the writings and recordings of Reverend Theodore M. Hesburgh, C.S.C.” How much of that narration is exact quotes from Hesburgh, and how much is loosely inspired from his words, we don’t know, but the narration certainly has the ring of truth and feels trustworthy. Hesburgh’s story is also told through many interviews with family members, colleagues, journalists and even students, and is presented in chronological order. A bit of background information is provided – about his wanting to be a priest from the age of six, for example – but the film focuses on his time as president of the University of Notre Dame.

Hesburgh was considered something of a renegade from the perspective of the Catholic Church, and the documentary provides some interesting information about the fight for religious liberty. It is also interesting that President Eisenhower appointed him to the National Science Board to advise him and Congress on science. He was also brought in on the issue of the nuclear threat in the 1950s, invited to speak to both the Russians and Americans to build a bridge between the two nations. As Ted Koppel says, “Father Hesburgh had an extraordinary ability to reach across lines.” That ability comes into play again and again.

The documentary touches on several important topics, because Father Hesburgh was involved in many issues, and the film moves quickly from the nuclear threat to civil rights. Hesburgh was part of the presidential commission addressing civil rights, and that issue becomes a central concern of the film. The documentary includes footage from Alabama at the time when that racist George Wallace was running for governor. It is still shocking that the members of the commission were refused accommodations in Alabama, even at the military base (until Eisenhower stepped in). Even more shocking is that the commission found that not a single black citizen in Montgomery County was registered to vote, though many had tried. Perhaps not as shocking is the fact that Eisenhower refused to turn the findings of the commission into law. What is fascinating is how the issue was handled by succeeding presidents, particularly the methods LBJ used to get civil rights legislation passed. The film includes footage of Hesburgh speaking at a civil rights rally with Martin Luther King in Chicago.

Not that Father Hesburgh was always on the right side of issues. The documentary gets into the anti-war protests on campuses in the late 1960s, and Father Hesburgh’s questionable way of handling students who engaged in them on the Notre Dame campus, a method that earned him praise from Richard Nixon. But soon he found himself on the opposite side of issues from Richard Nixon, who actually removed him from the civil rights commission. Yet again it was Hesburgh’s skill of bringing people together and bridging divides that came strongly into play regarding protests against the war. And this documentary leaves us with the thought that we could certainly use Father Hesburgh right now, as the nation feels more divided than ever before.

Special Features

The DVD’s special features contain a lot more footage from interviews, including more with Ted Koppel, more on admitting women to Notre Dame, and some interesting material on Hesburgh’s response to criticism from a student. There are approximately twenty-three minutes of bonus interviews.

The special features also include footage of three important speeches held on the campus of Notre Dame – President Eisenhower’s 1960 commencement remarks, Martin Luther King Jr’s 1963 speech, and Father Hesburgh’s 1987 commencement remarks. The sound drops out for a moment in Martin Luther King’s speech, but it is great to have this footage included. This footage is approximately twenty-four minutes.

The documentary’s trailer is also included.

Hesburgh was directed by Patrick Creadon, and was released on DVD on September 10, 2019 through Music Box Films.