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20 out of 24 people found the following review useful: Soavi's Occult Masterpiece, 18 December 2005 Author: Matthew Janovic (myboigie@earthlink.net) from United States
"I turned what was conceived as schlock pizza cinema into a strong essay on karma and the ambiguous inner conflicts we all face at some time in our lives." --Michele Soavi, from Alan Jones's "Profundo Argento"'"My brief to Michele was for him to explore the feelings I had about life in contemporary Germany being the beginning of a new Middle Ages. Michele made the Hitler references and evil allusions work."' --Dario Argento, from "Profundo Argento"Director Michele Soavi's "The Church" is unlike any horror film you will ever watch. To say it is merely horror, however, is a mistake. This is an incisive-critique of the crimes of the Vatican over centuries, the sins-of-intolerance, and the demons they give-rise to. Coupled with newer theories on magical geometry (in 1988,anyway), as well as the studies of European Cathedrals and their connections to occult-lore and symbology, Soavi, Dardano Sachetti and Argento weave an allegory of how evil the roots of organized faith are. One could say that this is a truly "Medieval" story within a Medieval-universe that is similar to the one held by the Manichean-heresy (Cathars). As in Cemetery Man, our Earth is portrayed as a dominion-of-evil, where mankind is unable to transcend an architecture that prohibits redemption at every-turn. A trap, not made by God, but by a lower-entity. In this universe, the world is a prison, created by greater-powers and forces. Like the prison-world of Gnosticism, Soavi hints that we are prone to Lords of this World ("Archons"), and that human-wisdom has been withheld--particularly feminine-wisdom, which is absent in most orthodox-faiths.Soavi doesn't seem to hold-out much hope for redemption here, but I find that is a theme in his early films. This connects him thematically with directors like Fritz Lang, who posit a fateful universe, and a terminal human-condition (determinist). This is a very modern viewpoint, ironically, since he places it in a Medieval-cosmology, a nice-trick! If you are a student of occult-lore, and symbology, this film is a real treat. It is peppered with imagery that surely has a subconscious effect on viewers. Because of this, I found it created a GREATER sense-of-dread when I watched it, and many scenarios and images are intentionally archetypal. Real Cathedral-friezes are flashed throughout the film, and there is a genuine meaning for their placements-- thematic meanings. If you find the storyline a little meandering, this is why. Most of this film is about themes and symbolic-meaning, rather than a linear-plot, though it does have that. A number of shots in the film demonstrate that some of this film was shot in Germany, but there are definitely images taken from many-other Cathedrals in-Europe. The main interiors were done in a Cathedral that needed restoration-funds in Hungary."The Church" also seems to be saying that the Catholic-hierarchy has something to hide in her origins, literally "covering-it-up" by building a Cathedral over the site of a massacre by Teutonic Knights (directed-by the Medieval Church) of a group of peaceful-heretics. Clearly, the sect represents the Albigensians/Cathars, but it can be generalized to the many faiths that were crushed by Christian orthodoxy, including esoteric Christian and pagan ones. Because of this suppression, a valuable-chunk of human-thought, culture and experience has been hidden (the definition of "occult") from the average person. The results have been unfortunate, with an anemic modern existence of meaninglessness, made-worse when orthodox Christianity's dogma has fallen-away, particularly in Europe. What has Judeo-Christianity had to offer women that the cult of Isis did not? A lot less, as it is patriarchal, offering only the unnatural Mary as a mother-archetype, rather than an image of real motherhood and empathy. Primitive-Christian beliefs surrounding reincarnations are also present in the plot line, most-particularly in Asia Argento's character, Lotte. In-fact, nearly-all the principle-characters are reincarnations from the Medieval-prologue! Once-crushed faiths sometimes re-emerge to overtake orthodox-ones.Having little-to-offer, we see why the Church (and Islam and Judaism) had to borrow-from pagan religions--a barbaric patriarchy didn't have much to offer people psychologically. The ancients knew that the mind needs symbols that are healing, comforting and empathetic. Between heaven-and-hell, there is man, their source. As above, so below. Hermetic-wisdom teaches us that the universe is contained in-microcosm in mankind, and Soavi express this well. Wisdom cults of the Hellenistic age were well-aware that religion is symbology, and little-else. Religion is psychology, and Soavi's film is very expressionist. Early-psychoanalysts like Jung and Freud used mythological metaphors and terms for a good-reason: they resonate with meaning over-the-ages. Isis is ALL women, Zeus is an aspect of ALL men, and Apollo's androgynous wisdom represents aspects of both-sexes. Ignoring these aspects of humanity is what breeds demons. The Church stands-accused. Some would say this film (and review) are "anti-Catholic", but they would be wrong. The authors of "The Church" have stated many-times they are still Catholic, and this author was baptized as one. We just love what is good about faith and spirituality, and shun what is hateful about it. An incredible film, directed by a genius. Try the Anchor Bay edition, it's widescreen with an excellent transfer for image and sound. One reviewer noted wrongly that Goblin did the score--it was Claudio Simonetti of-Goblin, Phillip Glass, and others. PS: "The Church" was originally slated to be the official "Demons 3" as part of the Argento franchise, but didn't end-up being that film. "The Ogre" has been arbitrarily given the "Demons 3" title by the owners of that film. It has no-relation to the other "Demons" films, and easily surpasses-them.
10 out of 10 people found the following review useful: Very impressive horror film., 20 March 2004 Author: HumanoidOfFlesh from Chyby, Poland
"La Chiesa"/"The Church" is a great Gothic horror film made by Michele Soavi with wild usage of camera,very hypnotic Goblin soundtrack and overall creepy atmosphere.The film was written and produced by Dario Argento,so fans of Italian horror won't be disappointed.It starts out with incredible scene of massacre,where a crusading army kills all inhabitants of a small village.There is plenty of violence and the photography is absolutely stunning.Soavi uses the camera tricks only hinted at in his wonderful "Deliria"(1987).There are several amazing camera shots and the lighting is excellent.The film is visually striking and the gore effects are quite good.The sequences involving secret machinery built into the structure of the cathedral are especially well executed.A must-see for fans of Italian horror!
6 out of 6 people found the following review useful: Remarkable atmospheric horror..., 15 May 2006 Author: José Luis Rivera Mendoza (jluis1984) from Mexico
Director Michele Soavi gained worldwide recognition with his 1994 masterpiece "Dellamorte Dellamore"; however, he had been mastering his craft under the guidance of horror master Dario Argento for years before that hit. "La Chiesa" was his second feature length effort as director and he displays his craft with a visually stunning Gothic movie about possessions on the vein of Lamberto Bava's "Demoni" (In fact, it was conceived as the series third chapter), but with Soavi's visual style all over it."La Chiesa" or "The Church", is a tale of an unholy supernatural evil contained under a Gothic Cathedral. Centuries ago, a group of Templar Knights brutally killed a town accused of being devil-worshipers; in order to keep the evil down they built a cathedral and sealed it. Now, in the present, a greedy librarian named Evan (Tomas Arana) breaks the seal and frees the forces of evil. The Church starts a self-protection devise that serves to trap the evil, but it also traps a lot of innocent people who become the target of the demons who begin to posses them.The movie is a visual Tour-De-Force where Soavi experiments with his outstanding camera-work creating haunting atmospheres of supernatural beauty. Complete with a terrific score with music not only by horror veterans Goblin but also by Prog rock virtuoso Keith Emerson and the remarkable composer Philip Glass. Their music works perfectly with the movie and completes the wonderful composition that Soavi creates.The Gothic Church is a character itself and Soavi gives it life and uses the location with great skill. The lighting and special effects are used with great care in order to increase the Gothic atmosphere of the film. Despite this, the story is a bit weak and the surrealist scenes Soavi intends to use to increase the atmosphere actually decrease the coherence of his plot, making it to drag a bit with scenes that seem to serve no purpose. This sadly becomes a major flaw in an otherwise flawless film.The acting is very good, although the English dubbing is kind of average. Tom Arana and Hugh Quarshie are very good in the lead roles, and Barbara Cupisti makes a great romantic interest. However, two members of the cast remarkably steal the show. Feodor Chaliapin Jr. gives a great interpretation as the head Bishop of the Church, giving a haunting performance as an old man with many secrets. The true star is young Asia Argento as Lotte, the teenage daughter of the sacristan who prefers to be at discos than working at the church. Her character may be small, but she shows her great talent and certainly shows why is she now the great actress she is today.As written above, the strangely constructed plot is a major turn off, as the last third of the film becomes very strange and a bit disappointing considering that the previous two thirds are a terrific haunting film. Still, Michele Soavi's technique is always perfect and his visual perfection is never disappointing. It is no wonder why with a better script he crafted a masterpiece with "Dellamorte Dellamore"."La Chiesa" may not be a perfect film, but it is a very good experience and a good introduction to modern Euro-horror. It is a shame that Soavi has decided to stay on TV films because his stylish art seems to have no limits when correctly developed. Fans of Italian horror will be pleased with "The Church". 7/10
8 out of 10 people found the following review useful: Masterfully devilish chiesa, 7 April 2003 Author: Bogey Man from Finland
Michele Soavi (born in 1957 in Italy) began as an assistant director for Dario Argento and the late exploitation king Aristide Massacessi before finally having the opportunity, by Aristide, to direct his first feature film, Deliria aka Stage Fright in 1987. That film was a great example of his talents and it remains as one of the most suspenseful and inventive of the later day giallo related horror mysteries to come out from Italy. He also directed the atmospheric La Setta aka The Sect in 1991 and Dellamorte Dellamore in 1994, neither of these being as wonderful as his second film, La Chiesa aka The Church from 1989, co-written by him with Dario Argento and Franco Ferrini.The film opens with a slaughter of some sixteenth century village and its people as they're suspected of devil worshipping and other unacceptable anti-religious things and so they get brutally killed and left dying, buried alive. A huge cross was left on them to make it impossible for the demons to rise again and also a church was built on the corpses. In present day, the huge cathedral is still there and serves very fine and safely until someone goes a little too far and plays with things that should have been left alone, resting in peace. Soon the spirits rise and devilish goings-on begin for the unhappy people who get trapped inside the huge church. But what really matters in this film is the talent of Soavi and his wonderful visual style and details to tell the story.The cinematography is always interesting in Soavi's films and La Chiesa, too, is full of wild camera drives and smooth movements as well as menacing angles to tell about the forthcoming terror. The details I mentioned are, for example, those black statues that inhabit the church, some of which can also be very alive! Stage Fright has a very creepy usage of equally "dead alive" dolls that are captured on film with great power proving how Soavi can nail his audience to the seat with such simple images and things. Especially in La Chiesa in which we never even get to see the statues' dark faces..All the more ominous and wonderful.The various monsters and devils that rise from the beyond are also convincing and maybe because of they're not shown too much or for too long. They won't look unintentionally funny and laughable but pretty effective especially at the very end. The effects and bursts of infernal gore are pretty graphic but in a very aesthetic way, never becoming too gross or revolting in this fairy tale they're present. The effects are by Sergio Stivaletti who has done effects for many Italian films like Lamberto Bava's Demoni (1985) and Dario Argento's La Sindrome di Stendhal (1996). The film gets also a little surreal at times which is of course great, and among the most memorable parts are the scenes depicting the abyss under the church..as nothing like it is supposed to be there and it all is just too living, again visualised with great usage of camera.The incredible Italian rock band Goblin has made many immortal soundtracks for Argento and their (Keith Emerson) music in La Chiesa is equally hypnotic variation of the conventional church organs with the usual Goblin elements like repeated lines that are very effective and make the viewing experience again very intense. This must be among the greatest things Italy has given to the world of (movie) composers, alongside such other masters like Riz Ortolani (Cannibal Holocaust), Ennio Morricone (Leone, Il Grance Silenzio plus so many others), Fabio Frizzi (the Fulci composer) and so on. But for the horror genre alone, Goblins are probably the most powerful masters.Few flaws in the film can be found in the last third that is more tired than the wonderful first hour that preceded it. They just try to explain too much something that wouldn't need or wouldn't even be too possible to be explained and that is very frustrating as it doesn't give anything to the suspense and terror atmosphere that has been created, only effectively tries to weaken it as the viewer starts to feel uncomfortable and also bored. Surreal and supernatural goings-on don't always have to be explained in cinema, let the images explain alone. Also some of the dialogue is a little exaggerated but that may be only in the English dubbing as the film has been widely distributed with the dubbing. There's also some bad and confusing editing especially near the end when things start turn more dramatic but other than these, La Chiesa is another horror masterpiece by Soavi, who has so far made only few horror films (plus a very interesting Argento documentary Dario Argento's World of Horror, in 1985) but who has also proved great talents and ideas to make the already wonderful Italian horror cinema genre even more masterful. La Chiesa is 8/10 and a very noteworthy example of Italian gothic horror cinema with beautiful settings and locations and equally stunning usage of camera, fantasy and sonic elements.
5 out of 6 people found the following review useful: It's a visual stunner!, 20 October 2005 Author: SickBoySimon from Brentwood, USA
After making the excellent slasher Deliria (1987), director Michele Soavi collaborated with genre master Dario Argento to produce this above-average tale of demonic evils.Church constructed upon the mass grave of some medieval witches begins to unleash demons upon its subjects.Soavi gives La Chiesa such great visual style and inventive direction that it becomes one of the most beautifully atmospheric Italian horror films out there. The storyline falls short at times with some thin plotting, but there isn't a dull moment in this surreal journey. It's a solidly well made film, with some nice special effects, slick cinematography, and colorful imagery. There's a number of dream like scenes in the film and a few unforgettably shocking ones, like the subway escape scene.Goblin and Keith Emerson provides a unique and beautiful music score that's downright powerful.The cast also helps to carry the film. Attractive Tomas Arana and Barbara Cupisti make for good leads. Argento's daughter Asia Argento appears as a youngster in the film. The supporting cast is also in good form, despite the English dubbing.All around, La Chiesa is a great European horror film, especially seen in a technical light or just for style. But horror genre fans will find plenty to enjoy as well.*** 1/2 out of ****
5 out of 6 people found the following review useful: Great Horror!, 16 December 2002 Author: theslowwizard from Tampa, FL USA
Yes, this movie has plot and logic problems! But so what? Most good horror movies do. That's what makes them so great. I enjoyed this thoroughly. If you are an Italian horror movie fan, then you will like this. I enjoyed the heavy atmosphere of the church, the gore, and the acting. Give this one a chance. Just don't sit there with a pen and paper trying to pick apart the plot.
4 out of 5 people found the following review useful: Hypnotic, 18 May 2005 Author: (Dellamorte_Delamore07@hotmail.com) from winnipeg, mb, canada
Visually stunning, haunting soundtrack, awesome kills, there's so much to love about this movie. Once I popped this DVD into the player and heard the awesome music on the menu I was hooked. The film has Michele Soavi's style all over, actually I'd say this is his most impressive looking film he's made.As I saw one users comments on Mullholland Drive "What am I seeing before my eyes", is exactly how I felt when watching this movie. I have now watched it at least 30 times and still can't get sick of it.The plot mainly consists of crusading nights killing a village of people they believe to be devil worshipers. A couple hundred years later a huge church is built over the dead bodies and after some nosy, greedy dude opens up the tomb...well that's where I'll stop.The visuals in this film are beyond astounding, examples would be The scene of a car driving through the streets at night in fast motion, I couldn't get over it, I'd compare it to the cab scene with NAomi Watts and Lara Herring before they get to Club Silencio. Impressive and gorgeous. The goat-demon-gargoyle was also very freaky and the scene with it and Baraba Cuputsi was terrifying. Actually I'd compare this movie to Mullholland drive, as I quote Roger Ebert on his review of Mullholland Drive "the less it makes sense, the more we can't stop watching" After watching this movie at least thirty times (as Mullholland drive) You begin to see that EVERYTHING in this movie actually does make sense, regardless of many people saying the plot MAKES no sense at anytime. Michele Soavi even says in an ARGENTO book that everything in the Church had a purpose. I even think The horrible "Stock" characters were great, they brought lots of comic relief with their bad dialog and acting.Buy this movie on DVD and fall in love with it as I have.***1/2 out of ****
4 out of 5 people found the following review useful: Visually impressive, but ..., 7 June 2002 Author: arminio from Croatia
This work o Michele Soavi looks like stilistic exercise - plot is pretty weak but camera work is simply AMAZING! Movie contains one of the best steadycam and crane shots I've ever seen! But poor story definitely does not improve entire impression...Anyway, mood, atmosphere and stunning camera work are really remarkable and worth seeing and that keeps movie from falling down.Still, Dellamorte Dellamore is the best Soavi's movie I've seen although camera work here is much better.7/10
2 out of 2 people found the following review useful: Say a little prayer., 16 August 2007 Author: lost-in-limbo from the Mad Hatter's tea party.
In the middle ages a group of Knights slaughter a village full of suspected devil worshippers and a large cathedral is built on their burial pit. The church is now being reworked on, and when the seal from the crypt is broken by the new librarian Evan, slowly the occupants become possessed. An ancient mechanism is triggered off and a group of visitors find themselves locked inside with this relentless terror of madness and lust.If you could ever say style very much over substance, director Michele Sovai's lavish Gothic horror piece "The Church" falls comfortably into that category. Originally it was going to be the third entry of the "Demons" films, But Sovai shaped it into what he wanted. Obviously the familiar groundwork of those films is still presented here, as this time the action takes place in a church where the trapped characters are eventually possessed. However it does take its time before the demented mayhem eventually erupts. Even then the splatter isn't particularly grisly, with more concern on the brooding atmosphere, striking art direction and gorgeously shot set pieces. The pacing might be terribly bumpy, but Renato Tafuri's dramatic flashes with the camera provide the film's main energy. Even the musical score by Keith Emerson and The Goblins stays fairly sombre, but poignantly effective nonetheless. What really lets this one down is the messy and inconsistent writing. Dario Argento, Franco Ferrini and Michele Soavi contributed to the material. Too much of it seems rushed and undeveloped, where the base of it was an inventive reworking that well thought-out, but there's too many loose ends. The script is pretty simple-minded, even with its religious structure, but it's not as compelling as it should be. At least your eyes have something to glaze over as Sovai's slow-grinding and densely detailed approach infuses some visually poetic images with a slowly surreal and claustrophobic feel making its way in. He makes great use of the shadows and lighting within well-etched infrastructure of the ominously sedate, but remarkably succulent looking cathedral. The demon make-up effects are well-exercised and look disturbingly menacing. Performances are hard to judge, because characters do seem to come and go. Tom Arana, Hugh Quarshie and Barbara Cupisti are solid. Also there's a fine turn by Feodor Chaliapin Jr. as the tormented Bishop and a young Asia Argento really does impress with her talented performance.Accomplished direction, professionally catered production and a polished look help out on the problems facing its flat, confused material. Worth-a-look.
2 out of 2 people found the following review useful: The Church, 26 May 2007 Author: Scarecrow-88 from United States
*** This review may contain spoilers ***
The Teutonic knights massacre a village of people plagued with the sign of stigmata for they represent demonic possession and witchcraft. The village bodies are piled within a massive hole as their grave with a church, constructed by an alchemist, to hold any demonic uprising that might take place due to outside human disturbance. That outside human disturbance occurs centuries later as the Catholic Cathedral is under heavy renovation with Evan, a man whose knowledge of history and folklore is vast, finds the housing of the villagers' crypt accidentally unleashing a demonic force that overwhelms him. He later closes the interrupted hole, but Evan has been invaded by such a strong demonic force, it overtakes him with little of who he once was left. His recent lover, and painting re-constructionist Lisa(Barbara Cupisti), receives a visit from a goat demon which later vanishes when cops arrive on the scene. Hermann, the Sacristan(Roberto Corbiletto)is looking for his trouble-making daughter, Lotte(Asia Argento..even as a young teen she was photographed as a sex symbol)when he runs up on possessed Evan who attacks him. It seems that if anyone is attacked by someone possessed, they in turn are possessed. Hermann, trying desperately to fight the evil inside him, decides to use a jackhammer as a suicidal weapon and through the reverberation of the massive tool, the church's locking mechanism(designed by the alchemist at the church's demand)closes the Cathedral with various characters who were within it trapped unwillingly. With seemingly no exit, many of the worried characters try to search for one while a still-alive Hermann comes up to attack anyone in his way. Father Gus(Hugh Quarshie), the level-headed priest who must figure out how to escape the church, tries to understand the mysteries and horrors taking place by searching for clues through the various encryptions inside statues and parchments discovered hidden. The Bishop(Feodor Chaliapin Jr)knows more than he's saying and Gus will have to find out the truths by him. Meanwhile, Lotte might discover the truth about what occurred centuries ago regarding the knights and their role in what is occurring, since we saw early on her ancestor on the verge of being killed since she was a member of the village..this might open the doors regarding reincarnation with Lotte looking through the eyes of another who saw the horrors first hand.To be honest, I was conflicted with Soavi's film. It's rife with powerful, unforgettable images, mainly through the hallucinations of those possessed. Such images include Evan, imagined as a serpent with wings closing a naked woman in his grasp, a goat demon having sex with a possessed, entranced Lisa, a woman whose beauty defines her seeing an image of a haggard old lady which results in her tearing away at he facial skin, and a woman being smashed by an on coming subway below the church. But, the narrative is messy and often characters, such as the children, are either forgotten or abandoned. Take Radice's Reverend who seems on the verge of being attacked by something for which we never see him again or where the children are seen goofing off in boredom then later vanish without a trace. The score by Goblin(with participation from the great Philip Glass)is absolutely stunning and hypnotic..a major asset to a flawed, but ambitious horror flick. The church itself is captured amazingly by Soavi's talented camera eye and the building is constructed with such creepy, ominous statues and demonic paintings(not to mention, the way the church locks once the alchemist's mechanism is triggered..this must've been quite difficult to construct). That's both a joy and problem, however, because it seems the filmmakers pay more attention to how the film looks and feels instead of a stronger more cohesive narrative. The screenplay doesn't seem as well constructed as the Cathedral.
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