Terror Transmission

Beyond the Door (Chi Se?, The Devil Within Her) – Italy – 1974 – Code Red DVD

Abby, The Antichrist, Exorcismo, Naked Exorcism, Magdalena: Possessed by the Devil, Seytan, House of Exorcism, Demon Witch Child, and Beyond the Door were all made and released within two years of that head-spinning, crucifix-fucking masterpiece of Catholic compunction – The Exorcist. Far and away the most successful of these euphemistically labeled “homages” was first-time director Ovidio Assonitis’s Chi sei? (released across the U.S. as Beyond the Door). Playing out like a poverty row redundancy for those who have already experienced The Exorcist firsthand, Beyond the Door manages some decent atmosphere and effects in places but is terminally bogged down by incompetent editing and terribly stilted dialogue. Assonitis also presents an absolutely asinine(tis!) narrative plagued by whimsical structuring, but potty-mouthed babes possessed by the Devil never cease to please me, so here we go…

Lovely homemaker Jessica (Juliet Mills) is impregnated by the Devil and begins to terrorize her two children and clueless dweeb of a husband, Robert. Dimitri, Jessica’s devil-worshiping (and dead) ex fuck-buddy, shows up on the scene to ensure the birth of the demon baby into which his damned soul will be reincarnated. Dubbida dubbida dubbida, that’s all folks!

Sound intriguing? Well it shouldn’t, because it isn’t.

From the opening of the picture (which is laden with a silly voiceover narration by Satan) you can tell this is amateur hour all the way. Assonitis shows some real inspiration with certain visuals and he capably handles the “camera-in-motion” bits, but the man had no idea how to direct the journeyman cast or pace his film to build the requisite atmosphere. Richard Johnson plays the haggard Dimitri (who looks like a deranged flasher in his trench-coat) and manages to chew up the scenery while spitting out some of the most knee-slappingly stupid monologues in Italian film (which is saying something!). And he has hairy ears which creeps me out, so boo to him. Mills is a bit flat as the haus frau, but turns in a very creepy performance once the possession takes hold. It’s not her fault that she was made to spin around in silly-circles or incessantly lick her vomit encrusted fingers, so she gets some leeway from me. At the moment when the film should be reaching a fevered pitch, Assonitis has the bewildered husband leave the scene of his wife’s possession and take a stroll through the San Francisco streets whilst being serenaded (accosted, really) by some street musicians. And back at home we are treated to the demonic Mills thrashing about wildly only to be stuck in freeze frame every 3 seconds. What moron thought that dopey editing device was an ace idea? Like I said, as fucking amateur as Pat Robertson in a Kraut porno flick…

Now, before you entirely write this picture off, your (occasionally snooty) host will divulge the other side of the train wreck. The two kids far and away deliver the best performances in the picture (only to be ushered out of sight for the final third of the film!). The daughter (Gail) is a jive-talkin’ and precocious twit whose coarse linguistics outshine anything her possessed Mum warbles out through chapped lips. The son (Ken) is a cutey-tootey who can’t get enough of Campbell’s Green Pea Soup (get it?), sucking it through a straw nonstop between his mothers abuses and father’s neglect. These two offspring create a palpable sense of union and dependence upon one another and become the sympathetic focal point of the story which makes their dismissal all the more enervating. There is a fantastic scene where their shared bedroom becomes overrun with poltergeist activity and their toys awaken with deadly purpose shuffling about in the sinister and spooky highlight of the film (this scene was rehashed with bloated budget by Steven Spielberg for Poltergeist 10 years, and a safe distance, later). The ’70s jazz-pop score is quite wonderful (rendering it entirely incongruous to this dreck) and the make-up and effects are deftly realized for the shoestring budget, but between the atrocious post-synch dubbing and the bungling bush league editing, this is one best forgotten after a single viewing.

Code Red, which is one of the finest home video companies around these days, gives an enormous showering of affection to this film with multiple featurettes, two commentary tracks and a slew of other excellent extras. The transfer is beautiful (as is the packaging) making the experience of delving “Beyond the Door” way more fun than it has any right to be. I must say, this film is essential viewing for those interested in the progression (or regression) of horror cinema, post-Exorcist, as its own influences could be felt worldwide and in such esteemed company as The Omen (the final shot is ripped directly from this) and the aforementioned Poltergeist. That being said, if I ever have to listen to “the child must be born” being ceaselessly spouted about whilst un-medicated again, I think I’ll have my fucking tubes tied!

Jason’s Grade: C-