John Saxon Battles Demons in the Tropical Horror ‘Beyond Evil’

“Beyond Evil” (1980) is a supernatural horror film that tries desperately to cash in on the possession and haunted house crazes of the 1970s, but ultimately falls short due to its muddled execution and derivative nature. Directed by Herb Freed, the film stars John Saxon and Lynda Day George as Larry and Barbara Andrews, an American couple who travel to the Philippines for Larry’s architectural work. What should be an exotic getaway quickly devolves into a nightmare of supernatural proportions.

The film’s premise is promising enough: a centuries-old witch named Alma Martin seeks revenge from beyond the grave, targeting the unsuspecting Barbara for possession. However, the execution leaves much to be desired. Freed’s direction is workmanlike at best, failing to build genuine tension or atmosphere despite the tropical setting. The pacing is sluggish, with long stretches of mundane dialogue and character development that never quite pay off in satisfying ways.

John Saxon, a veteran of genre films, does his best with the material as Larry Andrews. His portrayal of a skeptical man forced to confront the supernatural is one of the film’s few strengths. Saxon brings a sense of gravitas to the role, even when the script fails him. Lynda Day George, on the other hand, struggles with the demanding role of Barbara. Her transformation from loving wife to possessed vessel lacks the nuance and conviction needed to make it truly frightening.

The film’s attempts at horror set pieces are hit-or-miss. Some sequences, like a car becoming possessed and killing its driver, veer into unintentional comedy due to dated special effects. The green laser eyes of the witch Alma Martin are more likely to elicit chuckles than chills from modern audiences. However, there are moments where the film’s low budget actually works in its favor, creating an unsettling atmosphere through simple practical effects and clever camera work.

One of the film’s saving graces is its score by the renowned Pino Donaggio. Known for his work with Brian De Palma, Donaggio brings a level of sophistication to “Beyond Evil” that it arguably doesn’t deserve. His music elevates certain scenes, adding tension and emotion where the visuals and performances fall flat.

Thematically, “Beyond Evil” attempts to explore weighty subjects like the sanctity of marriage, cultural clash, and the power of belief. The curse that drives the plot stems from marital infidelity, and Barbara’s possession is symbolized by her inability to wear her wedding ring. Larry’s journey from skeptic to believer could have been compelling, but it’s handled in a clumsy, rushed manner that robs it of impact.

The film’s treatment of its Filipino setting and characters is problematic by modern standards. The local people are portrayed as superstitious and primitive, serving mainly as background decoration or to dispense vague warnings to the American protagonists. This “innocents abroad” trope feels especially dated and uncomfortable in today’s more culturally sensitive climate.

Visually, “Beyond Evil” suffers from inconsistent cinematography. Some scenes are so dimly lit that it’s difficult to discern what’s happening, while others have a flat, TV-movie quality that undermines any attempt at creating a cinematic atmosphere. The frequent use of POV shots up spiral staircases feels like a poor imitation of more skillful directors like Dario Argento.

Despite its many flaws, “Beyond Evil” has achieved a certain cult status among fans of B-grade horror. Its earnest attempts at scares, combined with its more laughable moments, make it a potential candidate for “so bad it’s good” viewing. The film’s ambition clearly outstripped its budget and the talents of those involved, resulting in a messy but occasionally entertaining horror entry.

“Beyond Evil” is a curiosity of early 1980s horror cinema. It stands as a testament to the era’s appetite for supernatural thrills, even as it fails to deliver them effectively. For genre enthusiasts and fans of John Saxon’s work, it might be worth a watch. However, casual viewers seeking genuine scares or a coherent narrative would be better served looking elsewhere. “Beyond Evil” may not live up to its grandiose title, but it does offer a glimpse into a transitional period of horror filmmaking, bridging the gap between the Gothic-inspired tales of the 1970s and the more visceral thrills that would come to dominate the genre in the 1980s.