Written and directed by Amando de Ossorio
Starring Lone Fleming, César Burner, María Elena Arpón
Running time 1 hour 41 minutes
Unrated but contains nudity and violence (including sexual assault)

by Hunter Bush, Podcast Czar & Staff Writer

Tombs of the Blind Dead is... not a new movie. Released in 1972 (1973 in the US, where it was edited to achieve a PG rating) it spawned a series of increasingly confusingly titled sequels: Return of the Blind Dead (1973), The Ghost Galleon (1974), and Night of the Seagulls (1975). The version playing at this year's Fantasia Fest is a restoration from Synapse Film, who plan to release a Blu-ray later this year with the original Italian/Spanish version, the edited US version and a third hybrid version that seems weird.

This restoration is absolutely gorgeous! I looked up some clips from the assorted earlier transfers and they look about what you'd expect for an unrestored horror flick released in 1972: washed out and grainy, while the audio sounded just as poor, tinny and decayed. The Synapse release, by contrast, has colors that are bright without seeming artificial, and sound that, with very few moments aside, is clear as a bell. So for those familiar with the flick, but maybe looking to upgrade whatever version they may have, I can't recommend this enough. If you've never seen Tombs however, rest assured that it's (largely) a really fun time.

When Virginia (María Elena Arpón) and Roger (César Burner) bump into Betty (Lone Fleming), an old friend of Virginia's, Roger invites Betty to join them on vacation. Roger's infatuation with Betty upsets Virginia, since she and Betty previously had an experimental fling in school. Virginia sets off to hike alone and clear her head, spending the night in a church that happens to be the final resting place of the Blind Dead! As you may expect, things don't go great for her, but that's actually quite good for us watching!

The Blind Dead are very fun movie monsters. Depicted in a slight slow motion, their tattered robes flapping as they gallop on horseback, they're mostly silent and always underscored with a very light echo effect that adds a supernatural eeriness to them in a simple but highly effective way. They also have little desiccated skeletal T-rex arms, which is pretty funny (also I'm pretty sure I saw one in the finale wearing what looked like a metallic oven mitt, lol).

The performances are fun, the gore is measured, and the nudity is mostly very playful. There's a brief flashback to Virginia and Betty's dorm room fling that's, yes, unnecessary cheap titillation, but ultimately very sweet? Is that weird to say? There's also obviously someone off camera simply blowing cigarette smoke past the lens to give the flashback a dreamlike, recollective quality and I found that a charming detail. Later when Virginia strips down before bed in the churchyard, she's filmed from the far side of her campfire, the flames obstructing our view of her Coppertone pale buns. Like I said, playful.

The movie loses me about 2/3 of the way through however. Virginia's ultimate fate is wrapped up (no spoilers here except to say that it takes place in a mannequin factory !!! and that rules) and, seemingly lacking direction, the film introduces two new characters as an excuse to explain some backstory. They also beef up the body count a bit, as any horrorhound would expect. Unfortunately they're also the catalyst for a sexual assault that serves no real purpose besides exploitation, which I understand - that was the name of the game at the time, but I just don't need it.

I'm not averse to that time of violence in a film If. It. Serves. A. Purpose. But this just doesn't. By comparison, Wes Craven's The Last House on the Left, released the same year, is a much more brutal viewing experience, but the act ultimately bothers me less because it matters and the film deals with it. In Tombs, the perpetrator isn't expressly punished and dies no more horrible a death than anyone else.

The film wraps up in a satisfying fashion - I'll never fail to enjoy filmmakers dripping blood on a cowering child - and with a banger of a sequel hook, but if you're interested in checking it off of some cinematic watchlist I just want you to be aware of what's in store for you. If you're still down, you could do a lot worse than watching this fabulous restoration.

Tombs of the Blind Dead is screening at Fantasia Fest. Get tickets HERE.

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