Buried Alive
(a.k.a. Beyond The Darkness & Blue Holocaust
& The Final Darkness)
(1979)
Director:
Joe D'Amato
Cast:
Kieran Carter, Cinzia Monreale, Franca Stoppi, Sam Modesto
Special guest review!
By Jason Alt
I seem to have
done it again; this time I am fairly sure I have a gift, a sort of 6th
sense if you will. Without having done any research whatsoever, or
talked to anyone about the film, I can stroll into any major rental
chain, and walk out with a zombie film made in Italy. If you haven’t
read my first review, I suggest you do eventually so that you can sort of get a
little scenario of what my life is all about. I watch these God-awful
pieces of trash, and as if that weren’t bad enough, I make my friends
watch them too. My latest rental, Buried Alive was by a
complete accident. I had seen the over-sized display box a few times in
the video store, and my preconception was that it was terrible enough
to watch.
Apparently even
though you can’t judge a book by its cover, you can for videos. As soon
as I popped it in to the VCR and the music started up, I cringed. I
turned to my friend who was watching with me for moral support. “5
bucks says this music is by Goblin.” Sure enough I was right, but
somehow that didn’t make me feel good. In fact, I was struck with an
overwhelming sense of dread. I suddenly didn’t want to watch the rest
of this movie, and I had only seen ten seconds of it.
The movie starts
out by introducing the protagonist and by showing that he is a
taxidermist. Then it shows him fiddling around with some formaldehyde,
which is obviously going to be integral to the plot, but it does little
to explain anything. Nor does it explain the next scene which features
a wooden faced woman watching an old gypsy stick pins into a voodoo
doll of a woman who is shown to be the girlfriend/wife/love interest of
the protagonist. It explains even less when later on, the protagonist
and the same wooden faced woman, who apparently live together, meet up
in a bedroom, and the protagonist starts sucking on her nipple (it may
sound sexy, but it’s like watching your grandparents do it.) This scene
makes even less sense when you consider the fact that the
hero’s woman has just died.
So naturally, it’s
time for him to go dig her up. An earlier scene featured him injecting
the fluid into her neck at her wake. An old man happened by and saw him
straddling the body plunging a needle into its neck. Of course the man
does or says nothing to anyone else, preferring to take it upon himself
to begin a vigilante crusade that involves him breaking into the
protagonist’s house twice to snoop around. She is dug up with little
effort, and he digs a two foot hole before striking the coffin lid. He
is seen standing shin-deep in a hole opening the lid even though the
scene where she was buried showed the pall-bearers lower her into a
6-foot hole. Stranger still, the girl’s father asked the funeral home
director to look after the body, and he promised that he would. He
doesn’t, however, catch the hero in the act of grave theft. Perhaps he
was too busy breaking into his house to notice the hero dig up the body
and drive off in a fire-engine-red van and get a flat tire 3 feet away
from the gate.
The movie is most
ridiculous in the sense that the motivations behind the main character
are never clear, nor are they explained. There is no rhyme or reason
for him the hero to shack up with a frankly unattractive,
creepy-looking woman who associates with Gypsies when he has a really
hot girlfriend. (She is way too good for him, it’s really
discouraging.) There is no reason for him to, when having sex with a
really hot jogger (also too good for him), throw off the blankets
covering the preserved body of his dead girlfriend, then kill the
jogger when, shock horror, she looks over and sees the body. None of
these things make any sense, and it is hard to understand any of the
plot.
The music is really
wretched. It does not belong in this kind of film, but that doesn’t
seem to bother “The Goblins” who apparently do the entire soundtrack
for these kinds of movies all the time. The frenzied pace of the techno
music doesn’t match the pace of the scenes in the slightest, and is as
out of place as Sammy Davis Jr. at a Klan meeting. It is ridiculous,
and the songs (if you can call them that) are all exactly the same as
the ones in every other movie for which they have done the soundtrack.
This leads one to believe that there was absolutely no consideration as
to how the music would work in the scene; the same jingles are used for
multiple films, all with extremely different plots.
The acting is
wooden. There is no other way to describe acting that is absolutely
bereft of feeling, character development or clarity. One gets the
feeling that this film was directed, casted, lighted, acted in, and
even had doughnuts brought to by people who are filled with nothing but
utter contempt for film making. This movie is nothing but a gore fest,
so corners were obviously cut. But the fact that the movie is utterly
all about excuses to cut people up and dissolve them in acid is no
excuse for the acting to be of poor quality.
The only instance
of anyone actually being buried alive occurred at the very end of the
movie. It occurred under ridiculous circumstances when you find out
that the dead girlfriend has an identical twin. The film just declined
to mention that earlier which sets the whole thing up like a soap
opera. Either the character has an evil twin, or they die but one lock
of their hair is left so they are cloned, or their death was a dream
sequence. The whole incident is a terrible back door for the directors,
and makes the whole film even more ridiculous.
The one redeeming
quality for the film is the gore. It was most certainly a gore-fest.
The thing which disturbed me was that the version of the film I watched
(under the title Buried Alive) is actually a cut
version of the film. I have no idea what could possibly have been cut;
it was most violent. The eeriest thing was the realism of the corpses.
They were the most realistic bodies I have ever seen in a movie which
reeks of a low-budget film. They are better than some I have seen in
million-dollar blockbuster movies made in Hollywood. They were
absolutely dead (huh-huh) ringers for the characters they were supposed
to be. The realism makes it easy to forget the you are watching a movie
(a bad one), and really get into it. Limbs are hacked off with
cleavers, and, like hacking apart a real body (or so I am told by
creepy relatives) that they don’t come off with one chop. Pieces of
flesh and gristle are still attached, and it is absolutely sickening
when the two characters who commit all the murders wail on someone with
a cleaver with a look of absolute relish on their faces while they are
splashed with gore. It really almost saves the film.
In this respect the
film is nearly a different sort of a porno. The acting and film quality
is bad, but the stuff that is promised (in this case the violent
murders and realistic corpses) are of the focal point for cast and
director. Pornos also have horrible plots and acting, but that’s not
why people rent them. Nobody ever watches a porno and spends the whole
time critiquing the character development (maybe some people do, but
they don’t get invited to parties.) So maybe the film has to be
appreciated for the wonderful violence that it delivers, and judged
solely on its merits. If you can do that, and you like violence, this
is a great movie to try and find. If not, this is incredibly painful to
watch, and I don’t recommend it be viewed by anyone.
Check for availability on Amazon (VHS)
Check for availability on Amazon (DVD)
Check for availability of soundtrack album (CD)
See also: Let Sleeping Corpses
Lie, Night Of The Zombies, The Resurrected
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