I have only seen From Beyond once before- back in the ‘eighties on VHS rental. At that time, I didn’t care for it at all- back then I was in the midst of devouring pretty much of all of Lovecraft’s tales, having brought them in paperback omnibus form, and the 1920 tale From Beyond was instantly one of my favourites. It’s a very short tale, hardly eight pages, but I’ll never forget putting it down after finishing it and looking around me with fresh, cautious eyes. I remember back then I used to sit down after midnight when everyone else in the house and gone to bed, I have an hour reading whatever book I was reading at the time, which, at that time, would likely be a Robert E Howard story or H P Lovecraft story. The lonely silence in which I turned the pages of those magnificent stories is something I recall fondly, and the very nature and subject of From Beyond lent its finale a haunting quality as I sat alone in the silence, looking at the room around me differently. I’ll never forget that.
There is something quite unique and rather disturbing about much of Lovecraft’s best work, but there was something about transferring the period tales to the modern-day to serve the demands of cinema audiences (for both Re-Animator and From Beyond and pretty much every other film adaptation since) that really struck me as just plain wrong. I think this was mostly because, at that time, I was still reading them all, was still stuck in that 1920s/1930s world of horror (and indeed to this day I think that the only ‘proper’ way to make a definitive and honest Lovecraft film is to keep it in the period of the original stories), but I have mellowed regards the budget and marketing difficulties inherent in such an approach. I quite enjoyed Dagon, for example, and would cite that as one of the best film adaptations of Lovecraft, even though like so many others it takes some particular liberties transferring the tales to the modern world. But anyway, what I’m saying is that, if I had watched Dagon back when I first saw Re-Animator and The Beyond, I’d have hated that too.
The fact is, Lovecraft’s work, the whole science-fiction/gothic horror hybrid only really works when its set in the time and world in which the stories were created. It’s a black and white, film-noir world, one without mobile phones or the internet. Its a nightmare world quite alien to what we live in now. Characters behave in a different way to how contemporary characters would; they believe in different things, society is different, and the world in which they inhabit is a world is still unknown and strange. They have not seen the Earth from space, its furthest corners and nooks mapped and photographed. Lost alien mountain cities could still be buried under Antarctic ice or hidden beneath the waves.
So a film set in modern times has to be rather loosely based on a Lovecraft tale as opposed to being utterly faithful. In that respect it has to be considered a largely pointless endeavour. Anyway, that said, I guess there is no way a modern-day big-budget A’list director will ever be able to make a period-set faithful horror film based on a HPL story. So we are where we are.
From Beyond has just been re-released in uncut form on Blu-ray, and watching it again I have to say I rather enjoyed it. I must be mellowing in my middle age, or setting my expectations lower than I used to. But it was actually quite fun. There isn’t much of the original story here (it generally tells the Lovecraft story in a pre-credit sequence) as in order to stretch the 8-page tale into an eighty-minute movie demands liberties regards going off on its own journey. But there is plenty going for it, mostly in how much the film reflects its own period of ‘manufacture’; you know, the whole ‘eighties horror thing with physical effects and gore and everything. Its as much a child of its time as the HPL tale was of the early 20th Century. It harks back to the gruesome charms of Carpenter’s The Thing, and of b-movie actors and video-nasties. It isn’t at all scary, but it is strangely fun, and every frame screams ‘Cult’ at you- Jeffrey Combs and Barbara Crampton are magnificent b-movie actors in b-movie sets, with Richard Band’s synth score evoking the age just as much as the hokey matt shots. How many adolescent males got their minds fevered by the shots of Barbara Crampton suffering sexual degradation at the gooey fingers of it’s twisted deviant monster?
From Beyond is nasty. It’s messy. It’s The Thing mixed up with Videodrome, but not as intense as either. Deformed body parts twisting and contorting into horrible parodies of nature, buried in gore and slime. The main monster is bad enough, but when another starts eating victims brains -usually by sucking them out through the victims eye socket- well the film reaches for levels of grossness that is fairly hardcore. The price of all this OTT visual depravity is a lack of genuine horror or scares, something that is a betrayal, frankly, of the source material. But nonetheless it is a fascinating combination of horror and science fiction unique to Lovecraft and has to be commended for that. Certainly a better film than I had remembered it.