L'esprit de la mort

Avoiding death and what happens when we die have been recurring themes throughout all art forms since the dawning of time. Despite the fact that there are a lot of films that handle similar themes, The Asphyx stands out for it's original and intriguing exaction. The film hasn't gained itself the best reputation in the three decades since its release, and it was apparently ignored upon its introduction to the general public. This isn't surprising - The Asphyx takes elements from supernatural horror and there's a little bit of sci-fi involved, but selling this film couldn't have been easy as there's no way to pigeon hole it. The plot focuses on Hugo Cunningham - a man who discovers that when we die, what's called an 'Asphyx' appears. After conducting a few experiments, Hugo presupposes that if one were to capture this Asphyx, then that person would never be able to die. He then proceeds to test the procedure on himself, and after becoming immortal decides he wants his young assistant and daughter; who want to get married, to become immortal also…

The Asphyx is a British film set in Victorian times, and director Peter Newbrook does an excellent job of producing the period setting. The film was obviously made on a budget, and as such it doesn't exactly compete with some of the bigger budget films set around the same time; but still the director gets the point across. The special effects are a little hokey, but they work really well. The main standout where the effects are concerned are with the 'Asphyx' itself, and personally I'd much rather the effects shown here than the CGI rubbish we have nowadays. The acting is decent, with Robert Stephens being the main standout in the lead role, and receiving good support from Robert Powell. Jane Lapotaire is something of a weak link in my opinion as she's a little flat, but it's not too important. The film has a great premise, but in order for a premise to work, it needs a good plot too and this film certainly has that. The film is not predictable for most of its duration, and the drama between the central characters is always interesting enough to hold the audience's attention. The ending is both haunting and memorable, and overall; it has to be said that The Asphyx is a film that deserves more wide recognition!

Greetings, salutations, and welcome to my considerations and recommendation of The Asphyx.

Story: 1.75/2 - Direction and Pace: 2.75/4 - Performances: 1.25/2 - Enjoyment: 1.50/2

Total 7.25/10

The concept of this story is superb as it's based on fact. Since the invention of the camera, people have taken photographs of their loved ones. And some have chosen to try and capture the exact moment of death. One such man is Sir Hugo Cunningham. He and two other photographers capture one man's passing and each of the film slides holds the same smudge to the left of the dying man. How could this be? Cunningham believes he's captured the Ancient Greek spirit the Asphyx, which comes to take a person's soul at the moment of death. When he loses his son and fiance in a boating accident, which he captures on his new invention - the moving picture camera, he sees the very same smudge slide into his son's head. Of course, he's now a man on a mission. If the Asphyx is an entity, then can he not capture it, and once caught would that mean the person tethered to it would be immortal?

The writers give the audience a splendidly structured tale of one man's descent into obsession and the revenge that follows. Though many strong and credible characters are created, they're gone too quickly as the writers focus on the two principal individuals. It would've been nice to have more of the relationship between Giles and Christina Cunningham. Though not related, the two have grown up as brother and sister. Giles is adopted. Which is lucky because the couple is in love, or so we're told. More warmth and emotion between them would only have added more potency. Luckily, there's more than enough to keep the viewer enthralled. One example is the hanging scene: We're given different moral viewpoints by the principal characters. Both think hanging is inhuman, and though one cannot watch, the other cannot wait to film the event. Another is the method utilised to capture the Asphyx. These scenes and details are well thought-out and delivered.

The director isn't too exceptional in his cinematography. However, he exploits every moment in the movie superbly. He has a keen eye for good composition and what's required to make the movie work. I especially adored the boating on the river scene. He frames every shot splendidly and captures the beautiful mistiness of the day, which adds a gossamer atmosphere to the segment. And for an early 1970s movie, the special effects are decent enough. They work wonderfully well with the context. Redone with today's CGI, there's every possibility they'd be overcooked. The image's subtleness helps to solidify the idea of an ethereal entity. Sadly, it's these segments that needed capturing better. They required more tension, especially in the first few capture scenes. Sadly, they don't grip the viewer as hard as they should. Another letdown is the soundtrack. Though I liked the classical piece used, by the picture's finale, it was overused. More fitting music was required to fit, and help set, the intended mood of the scenes. It's a soft lilting piece, yet it plays during the finale, where it doesn't fit.

On the whole, the cast is excellent. Though, I believe Robert Powell portraying Giles, undersells his part. I like Powell as an actor. He's usually robust and prominent in his portrayals, but with Giles, it's all a bit wishy-washy. Whereas Robert Stephens as Hugo has a couple of scenes where he makes out like a soldier on the front line and over the top, he goes.

Though The Asphyx doesn't make a must-watch film, it's interesting enough to make it a one-to-watch. The story is pleasantly in-depth and logically structured, making the events easier to believe. The characters are well-written and well-acted. And the direction is a good notch or two above average. If you've not watched this one yet, I suggest you treat yourself and find a copy streaming near you. And should you like Steampunk, take a look-see, and you'll notice a few "roots" in the paraphernalia the scientists use.

Please check out my Absolute Horror and The Final Frontier lists to see where I ranked the movie.

Take Care & Stay Well.

This is one of those rare small movies which has a great plot, decent special effects (for the time), and good acting. For the horror/sci-fi fan who does not require gore and shock value to enjoy a movie, this is a real treat. There are some minor flaws if you look closely, but they do not detract from the film as a whole. It is the atmosphere of the film which raises it above other works of the same era. I wish they could remake it with modern computer graphics and retain the same quaint eeriness, but I don't think modern audiences care much about atmosphere. Out of ten, I would give it a solid eight.

Immortality is a virtue that man has sought after since the dawn of history and now one man has found it. I originally rented this movie because, quite frankly, I was intrigued by the tag line. And boy did my interest pay off. I found one of the best films I have ever seen. From the beginning that you won't understand until they end to the subtle plot turns along the way. This film raises the questions " Once you've obtained immortality, what's next?" and "In the end, is it really worth it?"

When The Asphyx was released in 1973, The Exorcist was about to change the landscape of horror forever, moving the genre away from subtlety and into the realm of graphic effects and makeup. That's one of the reasons why The Asphyx was a box-office flop, fondly remembered by a select few who never forgot this quirky little "thinking man's horror film" (as Variety called it), in which a 19th-century British philanthropist and amateur psychic researcher embarks on a fateful quest for immortality. Sir Hugo Cunningham (nicely played by Robert Stephens) has a morbid hobby of taking photographs of dying people, and this leads to his discovery of a nebulous spirit of the dead--known in mythology as the Asphyx--that appears (only visible on photographic plates) at the moment of death. Sir Hugo becomes obsessed with capturing his own Asphyx and thus ensuring that he cannot die, but of course this is an ill-fated ambition that puts Sir Hugo on a ruinous path to destruction and death. With its talky, literate script, well-drawn characters, and fascinating themes, The Asphyx bears closer resemblance to the Hammer horror films that became passé in the early and mid-1970s. The chills are subtle but effective under the direction of Peter Newbrook, and the widescreen cinematography by Freddie Young (whose credits include Lawrence of Arabia) adds polish and elegance to the proceedings. Filled with foreboding atmosphere, this is an intelligently conceived horror film that relies more on story than shocks, although the screeching Asphyx is eerily haunting. Kudos to Allday Entertainment for producing this DVD--The Asphyx has been rescued from obscurity, painstakingly remastered in its original 2.35:1 aspect ratio for discerning connoisseurs of high-class horror.