A Noite do Terror Cego

I had seen only one film from the blind dead series (part 2 aka Return of the blind/evil dead) in the late 80s on a rented vhs. Although this film is the first in the series, i saw this for the first time recently. The story is about 2 girls n one guy who goes on a weekend trip. Sounds erotic huh. Don't get your hopes high. On the train ride there, one of the girl is overcome with jealousy and jumps off the train, deciding to spend the night in some nearby ruins. Wtf? It is a horror film n so the ruins are home of the blind dead knights who were into some satanic rituals until angry villagers killed them n left them for the crows to peck their eyes out. Some decent cinematography. It is an effective atmospheric film. The locations were really good. The abandoned n ruined village in the middle of nowhere, the endless fields, the only single train running n always passing by the ruins n the best part- the slow motion shots of the knights riding their horses in pursuit of their victims. When the knights r on the foot, they r slower than the snails but suddenly out of nowhere they get their horses n once they r on their horses, they ride faster in slow motions. Very creepy though. The skeletons, with their dark, odd beard hair features, actually look as if they've risen from their graves. Good effects.

I first found this film for rent back in the 80's. It was the old Paragon rental and I really liked it right from the get go. I had actually already seen Horror of the Zombies (aka El Buque Maldito) which is film numero three in De Ossorio's quadrilogy of the Blind Dead. I initially found that one to be a waste but seeing Tombs got me back into the swing of things.

Yes this film is slow moving but most Eurohorror films are a little on the slow side. That is because the spend more time on mood and atmosphere instead of clonking the audience over the head with the point of the story. Like Squonkamatic said his review of this film, you turn your brain on not OFF when you watch these types of films.

Tons of atmosphere in this film. The Templars rising from their tombs and then mounting ghostly horseback! Well you just cant much better than that! I absolutely love the soundtrack as well with the moaning/chanting Templar voices. The ending of this film also still packs a punch. THAT is a key sequence that must be seen it's complete form and THEN will you know why I titled this review as "disturbing".

Pick this up if you can. I have the double DVD from Anchor Bay which is outta print. Stick with the Anchor Bay VHS or wait because it might be coming out again, supposedly in late 2005. All FOUR films in fact if the cards are played right and the planets align. I will have my fingers crossed and my prayers prayed for Blue Underground who has taken on this task.

Rock on!

I am shocked to see the comments on this film by the users of the IMDB. Shocked and saddened; Amando de Ossorio's BLIND DEAD films are the quintessential viewing experience for 1970's Eurohorror. This particular film is nothing short of a masterpiece, though brain cell count and attention span deficit disorders that run rampant amongst the youth of today could account for SOME of the negative comments logged. Still ...

The first BLIND DEAD film does NOTHING to set it's scene, other than to show you Goya-esque views of a crumbling Spanish citadel ... One of the problems in assessing the cultural significance of a film that is 33 years old is related to how it is marketed, and by marketing the BLIND DEAD films as "Zombie Flesh Eating Gore Fests" is to miss Ossorio's point. Therefore the distributors themselves might be as much to blame as any one factor -- by trying to cash in on Zombie gorehounds and their easily parted with money, companies like Anchor Bay took a beautiful little movie and turned it into an instant reseller's nightmare. If plot is something you look for in your films, the BLIND DEAD movies will fall short. They will also fall short on the gore factor, since Ossorio was using the gore effects as ways to color his pallete of moods [see the first ten minutes of NIGHT OF THE SEAGULLS/NIGHT OF THE DEATH CULT for the most vivid example]. Ossorio was very much a director of moods and visuals rather than a strict, trudging story line that plods from A to B to C and then you're through. Like most European horror from the early 1970's, the stories are actually rather unimportant next to considerations like lighting, texture, color schemes and movement. If you watch a BLIND DEAD movie for a lightning fast paced blood soaked zombie fest OF COURSE you are going to feel like you wasted $15.

Ossorio was making parables about his time: I see this series as being very subversive commentaries on the Franco regime, with the Templar Knights summond from the grave at the start of each film as a way of representing the old values of Spain finding a voice amidst the artistic repression of their time. Spanish art has always been filled with images of horror & suffering, so it would make sense that an artist like Ossorio would choose the medium of his time -- film, rather than oil & canvas -- with which to bring forth his vision, and fill it with images of horror. But that doesn't mean that his objective was to make a mind numbing splatter film that would beat it's audience into submission with a meathook. If thematic relevance could be found for allowing a pretty supporting actress to be torn to shreds by vampiric Templars in a death ritual, well so be it -- that kind of stuff sells, and was permissable under Franco's dictatorship where straight out sexual content was not.

TOMBS OF THE BLIND DEAD [as we know it today] stands as one of the watershed films in mixing horror with eroticism: before Ossorio, the erotically tinged horror flick tended to be softer edged, not confront the viewer with TOO much carnage [though torture films were huge during the 1970's, especially in places like Italy and Germany where film makers were free to make films about whatever they wanted], and tended to end "happily". Ossorio's work changed all of that: we see graphic amputations, decapitations & other forms of bloodletting right next to the boobs, bikini lines and Go-Go boots. Ossorio had a great eye for beauty too, and packed his films with a bevy of gorgeous, beautiful Eurobabes who would have the most apalling things happen to them right on camera but were never "exploitational" -- the sexual content in Ossorio's work is treated as a plot element itself, not just inserted into the storyline to keep the attention of the jaded from slipping.

Several of the commentors are correct when pointing out that this movie is "slow", but I contend that it is slow in a way that emphasizes the poetic nature of his visions -- events transpire in a deliberate manner, with the action taking place almost like a walz or ballad. Is this a cultural sensitivity issue? Probably -- American consumers want MORE, FASTER, BIGGER and they want it NOW. To require an audience to sit through 25 minutes of a film before even learning why any of this is happening was apparently so unbearable that the original distributor of this film -- Paragon Video -- actually took it upon themselves to restructure the film so that the middle came at the beginning, and the film opens with a death ritual/blood sacrifice of a sexy woman to assure brain-dead Americans that they were going to get to see the boobs & blood that the films were marketed as delivering. And by doing so they not only did a dis-service to the movie, but shot themselves in the foot, since the action never again reaches that frenzied peak of luridness.

Anchor Bay Entertainment and Video Treasures did better with their "remastered" widescreen presentations, but still failed to grasp how to adequately market the films to what audience, and as such you can go to Amazon & score this tape for about eight bucks from a reseller [the out-of-print DVD containing both this and the second installment usually runs $30 - $50 and is considered tres collectable] and not even have to put up with a prior rental, since AB was marketing to consumers for home sales, not rental outlets. If you are interested in finding the pivotal moment of 1970's Eurohorror when art & entertainment met head on and brought forth one of the most widely respected series of the genre, this IS it.

If you are looking for a gut munching Zombie fest with splatterings and disembowlings, I am delighted to report that this isn't it. You don't check your brains at the door when you watch a BLIND DEAD movie, you use them.

If that is beneath you as a film consumer, you are indeed well advised to look elsewhere.

Tombs Of The Blind Dead is the first in the Blind Dead franchise, a Spanish series of zombie movies that have evaded me for a fair while.

I'm glad to say that it really impressed me and is highly similiar to Italian movies of the same ilk also from the same period.

It tells the story of a girl who is murdered in an abandoned ruined village once occupied by Templars. Her friends set about investigating and discover the villages horrifying secret.

What makes this stand out is that not only do our zombies have origins but that they have personality. Robed, skeletal, blind and horse riding! This is original stuff and it works wonders.

Ontop of that the movie is well scored, looks fantastic and really delivers on every front. Because of this I can't wait to get stuck into the remaining films.

The Good:

Looks great

Quite original for it's genre

Well made

Brilliant finale

The Bad:

Couple of ropey looking moments

Could have been longer

Things I Learnt From This Movie:

Porcupines are sweet and suave

Despite a slow start, Amando de Ossorio's Tombs of the Blinddead soon picks up and morphs into the exploitation highlight that you were no doubt expecting going into it. Naturally, it's full of plot holes and dubious character decisions; but it doesn't matter, because it's Ossorio's story surrounding the knights, along with the terrifying spectacle of the Templars rising from their tombs that makes this film what it is. The intro to the film gives you an impression of what you're in for, as we glide through an ancient monastery. This creepy sequence is very much coherent with the style of this film. Amando de Ossorio seems more concerned with making sure that his creations, the knights themselves, look as decomposed and disgusting as possible - and he truly succeeds. The gore takes a backseat, therefore, but it doesn't matter at all. The plot follows three friends on a train, one of which decides to leave that safe haven and spend the knight in the deserted town surrounding the monastery. Unbeknown to her, that's the same place where Templar knights were left to the crow's years earlier - and they're still mad about it.

When you think of zombie movies, it's always George Romero's gory classics that spring to mind - and that is another thing that is great about this movie. Tombs of the Blinddead has completely made it's own style, and originality is something that the horror genre could use more of. Of course, similar plots to this one have been used before, but never in exactly this way. Another thing I admire about the director is the fact that he's obviously more concerned with the horror of the story than anything else. Exploitation flicks like this tend to show a lot of nudity or other things that aren't really relevant - but this flick has made a real effort to stay away from needless elements as much as possible. Fans of intellectual cinema wont find much to like here - the dialogue is trite and the acting is rubbish - but there's no denying that this film has at least something resembling a respectable status within the horror genre. The fact that it's been remembered over thirty years on shows that - and if you're a fan of this sort of film, then you should definitely make sure you see Tombs of the Blinddead!