The Blind Dead 4

June 8, 2012 at 10:52 pm (movies)

Part 4, finally available in a low budget version, has its highlights. And it’s got a funny title – “La noche de las gaviotas”. Night of the seagulls. Director Ossorio had something in mind when he came up with this title, as will be seen during the movie – the seagulls, metaphysically speaking, are the souls of countless virgins, slaughtered by the evil Templars. You might have guessed…

I’ve already alluded to the “Rotting Templars rising from their graves”-scene not only being used in part 1 but numerous times. Well – it’s being used in part 4. Again.  With the same music as in parts 1 and 2. The same zooms. Just disrupted by cuts to the young hero-and-heroine-couple and various stuff. It really doesn’t matter that the setting in part 4 is totally different from parts 1 and 2 (convent versus stronghold by the sea), and it doesn’t matter that the interior differs. What does it matter, really, if you can recycle one of the greatest resurrection scenes in movie history  and have the audience on the edge of their seats. Also, we should keep in mind the recycling scenes is good for the budget.  Amando de Ossorio can proudly wear the badge of “Lowest Budget Ever”. And a propos: There seems to have been no money for equipment that could’ve been used at night. What other explanation is there for a brilliant blue sky and the actors casting shadows even though there’s no artificial source of light to be seen? With a lot of imagination, you could of course explain this away as a brightly moonlit night. It is, however, a very creative approach to the theme of “night”. To be sure, the chill factor suffers from this but the slowly moving Templars – you’ve got to love ’em for it – make up for it.

After having watched all four parts of the series, I have finally deciphered the mystery of the Templars’ slow pace. No rheumatism, no osteoporosis, no aching hips, no diminished lust for murder, and no laziness are choking the pace of our Templars. No. It’s dignity, effect, and ceremony. These are ritua murderers – and which ritual, I beg you, has ever been conducted in high speed? There. What would it look like if the Templars would chase their victims? This is not a marathon! Where’s the ceremonial air of it all, the dignity? If the Templars would run about like rabbits, you’d have to accuse them of not relying enough on their paralyzing aura, you would have to accuse them of having not enough self-confidence.  You would have to accuse them of being willing to shut up their victims’ screeches instead of – being the good evil creatures they are – gloat over it. You could hold these things against them, would they run and hurry. But they don’t. They’re looking out for image, for an entrance that is both terrifying and dignified – an entrance which paralyzes the victim long enough to reach it. This is classy. This is stylish. Copy that.

Part 4 has another valuable lesson in store: Templars burn very well. This is discovered by a young heroic doctor who’s torching a Templar from behind with a small torch in order to save his wife. This takes place in a house but does the whole thing burn down? No, it doesn’t. The Templar is nice enough to just burst into flames and end up as a pile of ashes. Remember: A Knight Templar burns pretty well if he’s threatening your wife. If the already dying dumbass of the village is attacked by a Templar, don’t  run outside and try to make a bonfire out of the Templar. The appropriate procedure, as demonstrated by our young doctor, is as follows: horrified glances at the victim, in the back you see two scared young women: the wife and a young maid – she becoming a victim of the bloodthirsty Templars? No way! The young doctor decides to interfere with the village’s customs instead of just standing still. He’s not content with finding out about the nightly processions, no, he really has to rush to the beach to save aforementionend maid from the Templars. But maybe I should start at the beginning.

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