After making his inordinately stylish and often hilarious slasher film Stagefright, Dario Argento protégé Michele Soavi teamed up with the maestro for 1987’s The Church, a hallucinatory gothic concoction that was originally intended as the third entry in the Demons series before Lamberto Bava passed the directorial torch to Soavi. Although vastly different in tone and atmosphere than the Bava films, The Church still bears distinct traces of their core idea: Ravening demons are inadvertently let loose to run gruesomely amok within a confined space, in this instance a gothic cathedral located somewhere in Germany.
Where the Demons films take visual media as their primary mode of representation, Soavi and co-writers Argento and Franco Ferrini imbue The Church with a literary bent, which is apt for a story that centers around the interpretation of medieval texts. What’s more, the film overtly references works as disparate as M.R. James’s...
Where the Demons films take visual media as their primary mode of representation, Soavi and co-writers Argento and Franco Ferrini imbue The Church with a literary bent, which is apt for a story that centers around the interpretation of medieval texts. What’s more, the film overtly references works as disparate as M.R. James’s...
- 5/16/2024
- by Budd Wilkins
- Slant Magazine
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