Cemetery Man (1994) – Review

“Hell, at a certain point in life, you realize you know more dead people than living” and it is with this sentiment we get an insightful look into the protagonist of Michele Soavi’s “Dellamorte Dellamore” – or Cemetery Man as it is also known – a film that masterfully blends dark humour, existential musings and gore in a way that few films have managed to achieve.

Based on Tiziano Sclavi’s novel Dellamorte Dellamore, the film tells the story of Francesco Dellamorte (Rupert Everett), the “watchman” of a small isolated cemetery in the town of Buffalora, Italy. Francesco leads a solitary life, accompanied only by his simple-minded and mute assistant, Gnaghi (François Hadji-Lazaro). What makes this particular cemetery stand out is that it has a peculiar secret, that the dead rise from their graves seven days after burial, and it is Dellamorte’s job to re-kill these “Returners” to maintain peace. One day, a beautiful widow (Anna Falchi) visits the cemetery to mourn her recently deceased husband and Francesco becomes infatuated with her and they soon engage in a passionate affair, but their romance is cut short when the widow dies – coitus interruptus by her newly risen husband – and this is the inciting incident of Dellamorte’s downward spiral.

Who exactly finds sex in a cemetery romantic?

Francesco’s life begins to unravel as he becomes increasingly desensitized to death and violence. He starts questioning his own sanity and the purpose of his existence. He faces numerous bizarre and disturbing events, including encounters with a variety zombies, surreal hallucinations, and peculiar townsfolk. As his mental state deteriorates, he becomes disillusioned with life and increasingly nihilistic. He has an encounter with the incarnation of Death, who seems a little put out by Dellamorte’s actions, stating “Stop killing the dead. They’re mine. If you don’t want the dead coming back to life, why don’t you just kill the living? Shoot them in the head. Are you listening to me?” Is this another hallucination or is Death making an important critique? Needless to say, this sends things down an even darker path, if that’s even imaginable at this time.

Would you ignore advice from this guy?

Francesco meets and falls for several women, all of whom bear a striking resemblance to the widow – all played by the beautiful Anna Falchi – and this leads to repeated cycles of love and loss, with each relationship ending in tragedy, further fuelling his existential despair. But Dellamorte isn’t the only one falling in love, we have a Gnaghi developing a strange romantic relationship with the decapitated head of a young woman named Valentina (Fabiana Formica), the mayor’s daughter who died had in a motorcycle accident. Despite the grotesque nature of their relationship, Gnaghi finds a peculiar form of companionship and happiness with Valentina’s animated head. To say this is a rather bizarre relationship would be the understatement of the century.

Who says there’s nothing good on TV?

The film reaches its climax when Francesco decides to leave Buffalora, believing that escaping the town will end his torment, where he can’t decide if the living are any better than the dead. He and Gnaghi drive to the edge of the town only to find that the road ends at a cliff overlooking a lake, trapping them in Buffalora. Francesco, in a moment of clarity, contemplates the possibility that the world outside the cemetery is no different from the one within it, reflecting the film’s recurring themes of death, love, and the inescapable nature of fate. Cemetery Man closes with a sense of ambiguity, leaving us to ponder the deeper meanings behind Francesco’s experiences and the nature of reality itself.

“I should have known it. The rest of the world doesn’t exist.”

Stray Observations:

• The character Francesco Dellamorte in the comic was visually based on Rupert Everett so casting Everett in the movie is much like the casting of Samuel Jackson as Nick Fury in the MCU.
• The Latin inscription over the Buffalora Cemetery gate reads RESURRECTURIS, which translates to “For those who will rise again.” So they get points for truth in advertising.
• When Francesco and Widow are kissing in the cemetery’s ossuary, with the shroud over their heads, the shot mimics the painting, “The Lovers” by René Magritte.
• Like many films in the zombie genre the word “zombie is never used, instead, they are called “returners” as they return from the grave.
• The returned motorcyclist bursts from his grave riding his bike and this visual reminded me of the cover of Meat Loaf’s album “Bat Out of Hell.”
• If the person you are in love with is turned on by making out in a grotto filled with corpses, and things go drastically wrong from there, that’s kind of on you.

Love from beyond the grave.

Michele Soavi’s direction is a visual treat as he crafts a world that is both surreal and grotesque, with imaginative set pieces and stunning cinematography that sucks us into this bizarre landscape. The film’s visual style is reminiscent of the best Italian horror films, with its rich colours, intricate lighting, and hauntingly beautiful compositions. Soavi seamlessly blends horror and comedy, creating a film that is as unsettling as it is amusing. It also does a great job of exploring themes of mortality, the futility of escape, and the cyclical nature of life and death as Cemetery Man is known for its surreal and dreamlike atmosphere, blending horror and dark comedy to create a unique narrative style. Michele Soavi’s direction, combined with Mauro Marchetti’s hauntingly beautiful cinematography and Riccardo Biseo and Manuel De Sica’s evocative score, enhances the film’s eerie and otherworldly mood.

Otherworldly is right, but also damn creepy.

On the acting front, Rupert Everett delivers a stellar performance as the brooding and enigmatic Dellamorte. His portrayal is both charismatic and melancholic, capturing the character’s detachment and dark humour. Anna Falchi does a great job in all three of her roles and she and Everett bring to the screen three very offbeat relationships, all doomed in different ways. François Hadji-Lazaro, who plays Dellamorte’s loyal but dim-witted assistant Gnaghi, provides much of the film’s comedic relief and their chemistry adds depth to the narrative, making their bizarre circumstances strangely relatable, if a bit odd. We also get local police detective Marshall Straniero (Mickey Knoxx) blasély ignoring all the evidence pointing to Dellamorte being a multiple murderer, as if he knows he’s guilty but that the cemetery job is too important to lock him up.

Law and Order: Special Undead Unit.

However, Cemetery Man is not without its flaws. The pacing can be uneven, with some sequences feeling overly drawn out or disjointed as the film’s episodic nature fights against its overall narrative. Additionally, the film’s blend of horror and comedy may not appeal to all tastes, as it frequently shifts between tones in a way that can be rather jarring. Despite these issues, the film’s originality and audacity make it a standout entry in the horror genre. As for the effects, the Italian make-up and practical effects crew on this film all do stellar work and the “zombies” on display are a visual treat, especially when being dispatched with such casual ease, especially if it’s a group of undead nuns and boy scouts.

A good motto to live by here is “Be Prepared.”

This the kind of film that defies easy categorization. It is a dark comedy/ horror, a philosophical exploration and a gory spectacle and with Michele Soavi’s direction and Rupert Everett’s compelling performance it created an unforgettable cinematic experience. While it may not appeal to everyone, especially those with a low tolerance for gore or dark humour, Cemetery Man is a must-watch for fans of offbeat horror and cult cinema. It’s a delightful dive into the macabre that leaves a lasting impression.