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.
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Gunnar_Runar_Ingibjargarson17 June 2008
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ma-cortes10 June 2018Nineteenth century , England , a mad doctor is studying death when he discovers the Asphyx , an obscure supernatural power , it is the key to immortality on the subject . Nice and enjoyable terror fim made in Hammer or Amicus style with a distinguished cast , creepy scenes and fine interpretation . This eerie movie deals with a man : Robert Stephens who attempts to trap the spirit of death but things go awry when he practices his experlments with his descendants : Arliss, Jane Lapotaire and adopted son , Robert Powell .
Scary picture with a promising notion in which a scientist discovers an aura that surrounds persons just before they die ; however , his irresponsability in unleashing the rare entity on the world brings a swarm of unforeseen consequences , ominous distresses , irreversible problems and grisly murders . There is an interesting as well as riveting glimpse into Victorian psychological research with engaging theories, though does take some incredible happenings , even by the the standards of this peculiar genre . Strong cast formed by good Brit actors such as Robert Stephens giving a theatrical delivery as a doctor delves deeper into his research finding extraordinary surprises , Jane Lapotaire as his daughter , Fiona Walker and Robert Powell .
It displays a weird but adequate score by Bill McGuffie . As well as an attractive production design by the great designer John Stoll . Appropriate and evocative cinematography by the prestigious Freddie Young who has a notorious career as cameraman such as Salomon and Queen Sabah, Ryan' s daughter, Lawrence Arabia , Doctor Zhivago , Lord Jim . This high-class terror /SciFi motion picture was compellingly directed by Peter Newbrook , being his only film . Newbrook had an important career in the camera and electric department , as a cinematographer and as a producer , including titles as Crucible of terror, Saturday night out , Press for time , That kind of girl, The green scarf , Green Helmet , 4 horsemen of Apocalypse , Anastasia , Farewell to arms , Deep blue sea , The Sandwich man , Vampires , among others . Rating : 7/10 , above average. Well worth seeing for the terror buffs . Essential and indispensable watching . -
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. -
Brunnis115 July 2004I bought a copy of this thru eBay. It was the old VHS, untouched by digitization. I would recommend that one purchase the newer DVD. I have heard that the color and saturation is much improved.
As for Sir Robert's performance, and Mr. Powell's: Quite extraordinary. Even the effects are quite futurist for the date that this was filmed.
There is a bit of violence, involving two men and a guinea pig, so be aware of some disgust with relation to that. But by far, if you want to be enthralled by Sir Robert, and coo at Powell, you're in for a rare treat. I can't believe this one was out there for so long before I found it! Truly needs to be placed in the "Hall of Horror", since it is nearly on the level of the old Vincent Price works, like "Mask of Red Death" and "The Raven". Get it, and treasure it as one of Sir Robert's few performances still available. -
kosmasp16 June 2019Life after death - or rather what happens at the moment when our soul leaves our body (if you believe we have a soul that is)? This high brow concept and the capturing of an essence felt a bit like the Hammer horror tropes. I was fortunate enough to buy the restored version of this. The DVD did show the difference between this version and the one previously released - it would be unfair to judge the movie based on that meddled version, which cropped and "Pan&Scan" too.
Anyway, if you are aware of the "classic" horror movies you will have a sense of what to expect. For other viewers it is important to keep in mind that there was a formula and a mood these movies followed. You may feel that they are annoying or boring or something else that is unpleasant to watch. But the art direction, the camera and the acting is spot on - or at least as intended (yes drama baby! You had to have it) -
A Victorian scientist works to entrap the mythical "ASPHYX" a spirit engorged in agony; forever condemned to screech and wail until it finds another human body to take. After realising that trapping it will lead to immortality before the clutches of death; he pushes his experiments to the extreme in order to control life. With harrowing and very, very deeply disturbing scenes and consequences. Be warned. yep. I know what you want to think; maybe Christopher Lee dancing round in a woman's wig get's your freak on; your horror movie penchant.No. Sadly not. I saw this movie a while ago and had no idea what it was: i only knew that it had the word asphyx in and now; about five years after seeing the movie i am reminded about how engaging it was; but it has serial scary moments. Whereas the likes of the Exorcist and Halloween exercise subtlety with scary points; this well made BRITPIC serves you a colourful rendition of the screeching banshee phantom with the more underlying tone of immortality at a price; it's sometimes painful to watch not because it's bad but because it's good. Very good; consider this a 70's Brit Horror B movie/ a little gem which i don't think has been touched upon by Hollywood yet. It's not Body-Horror like the Thing but rather the condition of the human spirit/ tragedy/ death; which are played to the extremes. The very minutely close shave extremes in some cases. Masterful storytelling combined with sheer perverted black comedy and some proper man's horror, this movie may well stay with you for the rest of eternity.
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Kit-Angel21 April 2022The story is very interesting and it's generally gripping in parts although not hard to guess what will follow. I think I first saw this when I was around 12 and it was fairly frightening the ghost like spirits of death. Today over 40 years later the special effects are a little poor although not bad for a 50 year old film. The acting is a little up and down there is hardly any actors in it only 3 main characters and 3 bit players there only to move the narrative on. Robert stephens performance is good but rather stagey. Robert Powell in what must be one of his first major roles is given some odd direction in his interaction with. Jane Lapotaire Playing Christina that is a bit unsettling . The relationship is just weird considering they are supposed to be madly in love it's fairly abusive as is her fathers character towards her. I guess the director wanted to get a 1875 feel for male/ female dynamics? I just think it would have worked better without the shouting and slapping towards the lead female character. I think a more sympathetic and loving portrayal would have brought greater pathos to the demise of the two lovers. Overall worth a watch it's a fairly short film and moves along at a nifty pace. I think I read it was cut down and was originally longer which would make sense as it is a bit disjointed as well. 7/10 for story , 6/10 acting 5/10 for directing.
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DrSatan1 March 2000This film has an interesting idea, that there is a death spirit that takes each of us when we die. The main character discovers, and eventually imprisons his. The rest of the film, essentially his punishment for "playing God" and beating the system, consists of him using increasingly ridiculous methods to begin to bring his family and friends close to death and capture the spirit in the process. Okay, maybe its just me, but I would have used something relatively non-violent and clean for this process, like drugs. This film just doesn't work. The ending is a nice, if predictable, touch. Kind of prefigures the end of the "Green Mile". Amusingly enough, I'd say that the Asphyx definitely is more creative and interesting than that steaming pile.
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aimless-462 December 2005"The Asphyx" a/k/a "The Horror of Death" is one of the most original yet unheralded English horror films. Set in 1870's England, aristocrat Sir Hugo (Robert Stephens) accidentally photographs an entity (mythological name Asphyx) entering a person's body at their death. Sir Hugo theorizes that each person has their own Asphyx and that if the entity can be imprisoned outside the body, the person will be immortal. Can you guess what happens next?
From the physiological standpoint, the concept is not that different from the idea of vampires and zombies; with the same need to suspend disbelief to really enjoy things. Although like the implications of time travel, half the fun is speculating on the ramifications of the idea.
There is a pleasant and very haunting score and the story has a nice touch of irony as Sir Hugo's first experimental subject is his eventual downfall.
The real strength of this film is the production design. Considerable effort went into the meticulously constructed sets and there was much attention to detail in the various scientific apparatus and instruments. While the historical accuracy of these advanced devices is suspect, they are certainly no harder to accept than the basic premise. All looks great on the big screen and is probably fine on the letter boxed DVD, but the VHS tape is of marginal quality and the 4x3 aspect ratio does not do justice to the frame.
Few films from the era that did a better job of filling their frames than "The Asphyx" (credit to Academy award winning cinematographer Freddie Young), but this just magnifies the problems of the full-screen version. It appears that the 1989 Interglobal Home Video trimmed nine minutes from the film and was recorded at the LP speed, so you should avoid that one if possible.
Then again, what do I know? I'm only a child. -
tonyandsilvia199428 February 2023The Asphyx is a 1972 British horror film directed by Peter Newbrook. The film follows a group of scientists in Victorian England who discover a way to capture the asphyx, a mythical creature said to be responsible for death. However, their obsession with capturing the asphyx leads them down a dangerous and deadly path.
One of the most interesting aspects of The Asphyx is its concept. The idea of a mythical creature that is responsible for death is intriguing, and the film explores this concept in a unique and captivating way. The scientists' obsession with capturing the asphyx leads to some truly chilling moments, and the film's exploration of the nature of death is thought-provoking.
The film is also highly entertaining. It's a horror film that manages to be both scary and engaging. The cinematography is well-done, with some truly eerie shots that effectively build tension. The use of practical effects is also impressive, and the film's special effects are still effective today.
However, one of the film's weaknesses is the acting. While some of the performances are strong, others come off as a bit hokey. Some of the dialogue and line delivery can be cheesy and take away from the film's overall impact. This can be especially jarring during some of the more intense moments, which can lose their impact due to the over-the-top acting.
Despite this, The Asphyx is still a highly enjoyable and entertaining horror film. Its concept and execution are strong enough to overcome any acting weaknesses. It's a film that manages to be both intriguing and engaging, with some truly memorable moments. The film's exploration of death and the consequences of human obsession is a theme that still resonates with audiences today, making The Asphyx a horror classic that should not be missed. -
planktonrules7 April 2015This is a bizarre little horror film set at about 1875. A goofy nobleman, Sir Hug Cunningham, has an odd hobby--he and his psychical friends like to photograph people as they are dying! They think that they can photograph souls or the like. However, when he later uses a completely anachronistic* movie camera and a special blue light, he discovers that some creature he labels 'the asphyx' is released by the body upon death. His goal is to study and even capture one of these creatures, as he hopes that by capturing it he can achieve immortality! The problem is that he's a real screw up and one by one his work results in the deaths of his loved ones. What's next for this wacko? See the film.
This is not a horrible film but it isn't all that great either. At times, the acting is pretty bad and the film was filled with unintentional laughs. -
The_Void7 February 2007Avoiding 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! -
JamesHitchcock5 January 2024"The Asphyx" is a British horror film set in Victorian England. Sir Hugo Cunningham is scientist involved in studying psychic phenomena, particularly what happens to the body at the moment of death. (This subject takes on a special significance for him after his young second wife Anna and his son Giles are killed in a boating accident). From photographic experiments he concludes that when a person dies his or her body is entered by an "asphyx", or spirit of death. He also concludes that every person has a personal asphyx and that if this spirit could be trapped and prevented from entering the body, it would be possible for that person to become immortal.
Cunningham therefore embarks upon a series of dangerous experiments designed to capture his asphyx and thereby become immortal. He is assisted by the two surviving members of his family, his daughter Christina and his adopted son Giles, who are in love with one another. (Well, they're not blood relations, so it's not actually illegal, but that still seems very strange to me). They are initially reluctant, but Cunningham wins them over by promising to allow them to marry. Of course, whenever a scientist in a horror movie tries to play God, you know that things are going to go wrong, and that is precisely what happens here. Very wrong indeed.
The film reminded me of "Demons of the Mind", another British horror film from 1972. The subject-matter of the two films is different, but like the main character of "Demons of the Mind", Baron Zorn, Cunningham is a middle-aged aristocratic widower with a son and daughter from his first marriage. The two films also have a similar look, closer to that of British "heritage cinema" than the traditional spooky horror flick. Both Zorn and Cunningham live in elegant, solidly furnished stately homes, and both films pay considerable attention to recreating the elaborate costumes of the era.
When I reviewed "Demons of the Mind", I said that as an exercise in storytelling it was not really a success, yet it had a certain crazed logic about it, a logic which is not that of the well-made piece of fiction but that of a weird, exotic nightmare which taps into our deepest fears about the hidden and the uncanny. The same could also be said of "The Asphyx". The story does not always make sense and it is at times not easy to follow. Yet it also taps into some deep human anxieties, and not just our worries about what mad scientists might be getting up to. We fear Death, yet we also fear that being trapped in life and unable to die might be an even worse fate. "The Asphyx" might at first sight seem like a piece of schlock horror, made at a time when the British cinema was churning out dozens of schlock horror movies every year. Yet beneath its surface it has some hidden, and very murky, depths. 6/10
Some goofs. From the date on one character's tomb, we know that the action takes place in the year 1875. A public hanging plays a part in the plot, but public executions were abolished in Britain after 1868. A movie camera also plays a part in the story, but such cameras were not developed until the late 1880s and 1890s. However, Cunningham is an inventor as well as a scientist, and the concept of motion pictures was certainly being discussed in the 1870s, so one could argue that showing something being invented a few years ahead of schedule is not really a goof. -
doctorsmoothlove2 September 2011Before watching The Asphyx, I had never thought of what it would be like if someone adapted a junior scientist playset instruction manual into a feature film. Well, that sounds like an oversimplification, but it's an apt appropriation of how unintentionally amusing the film is. It proceeds from an unstated assumption that the audience doesn't care about the many leaps in logic it makes. Many of these do not occur for artistic purposes, making them as laughable as they are. It gets better. Intangible spirits are trapped in wooden boxes. An inexplicable 2:35:1 (widescreen) aspect ratio (which reveals the totality of pre-designed sets) enhances the artificiality to an-Ed Wood level of bemused catastrophe. It appears as if the only cinematic consideration that went into this production was Robert Stephens's deliberately campy performance. This 1973 comedy-opus is one of the infrequent bad movies so harmlessly but fundamentally incompetent that it earns its title as a cult classic for the cinemasochist who surely goes out of her way to see it.
The film goes out of its way to let us know that it takes place in the 1870's where Sir Hugo Cunningham (Stephens) has observed a celestial body that appears right when hanged men are about to die. He surmises this entity to be an asphyx that is actually a representation of the soul right as it leaves the body. More evidence is provided through his home movies of other people dying. History students will get a chuckle when Cunningham's camera actually moves horizontally during a shot. Celluloid films wouldn't even come into existence until the late 1880's, and shots would be stagnant until Griffith moved his camera. Cunningham decides that he can achieve immortality if he can capture his asphyx and store it forever. After he manages to put it in a wooden box, he actually places it within his cellar so he can doubly defy physical principles of matter indefinitely.
Despite this being 1973, the screenplay seems (appropriately) temporally challenged. What follows is a typical mad scientist plot as Cunningham tries to get his daughter and son-in-law to join him in eternal life. The fact that all of this happens in color, although the budget was minuscule, will remind you that this isn't a fifty's flick. The daughter dies after a mishap, so her partner vows revenge. Then the funniest sequence takes place when he exchanges the white rocks and blue rocks of the Asphyx-capturing machine, rendering it nonfunctional. The purpose of the rocks is not explained or even mentioned prior to this point. Their color must be of primary importance, somehow.
Like a child building a vinegar volcano, The Asphyx plays out like someone following a rigid formula for creation of what was supposed to be a genre film. There's little creativity on display in the final product. The science backdrop only more strikingly reveals the lack of artistry involved. So much exposition is wasted on telling us about how various technological devices work that we must take everything at face value. Our inability to do that classifies this film as a fine candidate for bad movie night.
Not Recommended -
Cal Hawks7 April 2002Immortality 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?"
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ferbs5414 December 2007No, this is not a movie about a proctologist's office. (Oops, sorry...bad joke.) Rather, "The Asphyx" is a finely constructed film that tells of a British scientist in 1875 who, with the aid of some novel equipment, realizes that he can photograph this eponymous "spirit of death" that hovers over people who are about to die. He then endeavors to capture an asphyx, in the hopes of achieving immortality... This fascinating premise is very well carried out, abetted by a literate script, handsome sets, uniformly fine acting, and a lush if somewhat incongruous score. Veteran cinematographer Freddie Francis delivers another piece of remarkable lensing, and the film's subdued color tones only add to the realism. The asphyxes (asphyxi?) themselves look like no critter you've ever seen on screen before, and the film keeps getting better and better as it goes along. It is a genuine sleeper, whose relative obscurity is quite undeserved. This nice-looking DVD, which preserves the film's original wide-screen aspect ratio, will hopefully bring it to a wider audience. It would make a wonderful double feature with the 1959 Vincent Price film "The Tingler," if the viewer has time one evening. Bottom line: "The Asphyx" is a unique viewing experience that all lovers of both horror AND sci-fi should enjoy immensely.
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bygard4 May 2007Stylishly filmed in TODD-AO-35 system this clever little horror film once again tells about certain dangers of an over-ambitious attempt to play God. A nineteenth century nobleman discovers by an accident the secret of human soul and immortality. Of course he can't help meddling with the subject and try to take full advantage of it. But when everything is not going according to plan the immortality can become quite a long time.
Somewhat over-acted in very theatrical style the film does have enough charm, good look and a decent story to overcome this. The plot borrows from the Frankenstein myth and several others but not so much it would bother me. Thanks to the great photography a smooth dreamlike feeling prevails covering the certain clumsiness in acting and special effects. Otherwise, those few things aside this is a good watchable movie and an entertaining morality play on ambition, love and guilt. -
poolandrews26 April 2006The Asphyx starts in 70's London where the police attend a car accident in which a copper gasps 'he's still alive'... Cut back to the turn of the 20th century & Victorian England as Sir Hugo Cunningham (Robert Stephens) arrives home to show Anna Wheatley (Fiona Walker), his bride-to-be, off to his family. While at home Sir Hugo continues his experiments with his friend & colleague Sir Edward Barrett (Alex Scott) that involves research into photography, Hugo & Edward have discovered that they can take a picture of someone's asphyx, in essence they can take of photo of someone's soul as it departs the body in death or mortal danger. It's not long before tragedy strikes & Hugo's fiancé Anna & his son Clive (Ralph Arliss) are killed in a boating accident, Hugo is convinced that the asphyx appears before death. When he is invited to watch & film a prisoner being hanged he sets up a bright blue light which seems to catch the asphyx in it's beam & from which it can't escape. Hugo is sure that if someone's asphyx is trapped they will become immortal & unable to die, with this in mind he persuades his adopted son Giles (Robert Powell) to assist him in an experiment to capture his own asphyx & thus give him immortality...
This British American co-production was directed by Peter Newbrook & while I have to give it credit for being different & trying it's hardest to be original that doesn't automatically make it a good film, does it? The script by Brian Comport is very dialogue heavy & takes itself extremely seriously, it's pretty slow going & when all said & done not that much actually happens in it. There's no real exploitation, no action, no suspense, a lack of any blood or gore & when I think about it The Asphyx has very few horror elements in it. Now onto the logistical problems, for a start people have been photographed & filmed for decades & people's asphyx clearly do not appear at the point of death or near the point of death, does it? So, straight away the basic story is just total complete & utter nonsense that I couldn't take that seriously because it's so easily disproved beyond any shadow of a doubt, I know it's just a film but films need to have at least some bearing in reality for us, the viewer that is, to care about anything or anyone on screen. Then there's the fact that Hugo couldn't get to his asphyx which was locked away in a crypt, well why couldn't he just use a load of explosives to destroy the door or better still the entire crypt which would in turn destroy the coffin which held his asphyx & let it go free? It's just a door & four walls, I mean couldn't he break in somehow? Also I wasn't convinced that an intelligent scientist could accidentally decapitate someone. Anyway, even if it was a bit predictable I must admit I liked the twist ending & how it came together but I couldn't help but feel the story would have been better served as a half an hour Tales from the Crypt episode (1989 - 1996).
Director Newbrook does a great job & The Asphyx looks good throughout, there's some cool cinematography & lighting, the production design & period sets, costumes & props are lush & give The Asphyx a nice atmosphere. The image of the ghostly screaming asphyx caught in the blue light is creepy & surprisingly effective. Forget about any gore as there isn't any.
Technically The Asphyx is excellent, great cinematography, production design & it's very well made throughout. The acting is pretty good by everyone involved.
The Asphyx is one of those films which is perhaps just a bit too clever for it's own good, I thought it was a good film & I enjoyed it but I wouldn't be in any hurry to see it again. Definitely worth a watch but apart from the nice ending it didn't quite do enough with it's unusual premise for me. -
Fella_shibby21 January 2018Fangoria has listed this in its '101 best horror movies you have never seen'. Well, partially they r rite. I wasnt aware of this lousy film n i jus saw this few days back on a dvd coz of Fangoria. But they r wrong in listing it in best horror movies. Its a very slow movie n not at all scary. A female is beheaded n we dont get to see any blood. Apart from some decent cinematography, there is nothing redeeming about this movie.
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mr. sardonicus23 August 2000This 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.
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gavin694220 February 2013English country squire Sir Hugo Cunningham (Robert Stephens) searches for immortality by literally 'bottling up' the Spirit of the Dead, or Asphyx.
I love the awesome photographs of the dead in the beginning of the movie -- look at those faces! I also love that when the moving pictures are being developed, somehow the film captured was the same as what we had seen just before -- including a cut to a second camera.
This is actually a pretty good horror film, and I am surprised I had not heard of it before. Perhaps because it is called "The Asphyx", which really is not a catchy title. I would recommend it to any fan of Hammer films (this is not one, but matches them) or of off-beat horror. -
The Asphyx, now readily available on DVD, is a Sci-Fi classic. Its long awaited arrival was worth the wait. The moldering Pan-and-Scan version which was a staple of syndicated Chiller-type programming throughout the Seventies and early Eighties has been totally remastered and is presented in its original aspect ratio.
Set in late Victorian rural England. Sir Hugo Cunningham becomes obsessed with the possibility of becoming immortal after discovering the Asphyx, or Spirit of Death, which seeks out the dying and finds release in them, killing them at once. An, at times, melodramatic cast are quickly drawn into Hugo's experiments, to their misfortune, and his. A "playing God" scenario, with a difference.
Beautifully photographed and very original. I hope many of you will re-remember this film and seek it out. It deserves a fresh audience. -
gridoon25 October 2002The concept sounded intriguing - the execution is inadequate.
First of all, it's too literal. It would perhaps be better if we couldn't see the "Asphyx" at all - and if we had to see it, it should have been a more "abstract" form, not a cheesy little creature.
Also, horror films usually work better when a character you can identify with gets into trouble. Here, all the characters are unlikable from the word "go".
And last of all, the film's plotting won't stand up to any kind of scrutiny. Can anyone explain how exactly one becomes "immortal" under any circumstances when his asphyx is captured? If, say, someone was to chop off your head, how could you possibly continue to live?
If you're interested in the consequences of immortality, there is a four-part horror anthology out there, called "From A Whisper To A Scream". Its second episode was about just that, and did a better job with it in 20 minutes than "The Asphyx" does in 90. (**) -
begob25 November 2015A gentleman scientist, following his discovery of photographic evidence of a spirit present at the moment of death, ropes in his daughter's sceptical fiancée in a bid to achieve immortality. Will it go wrong? Will it heck!
O Gawd - yet another period horror from the Brits. This one has huge ambition, with a tale of hubris and nemesis and defiance of the gods, touching on Shakespeare, Oscar Wilde, and a strictly middle class version of social reform. Yet it trips over the smallest practical detail, especially when these brilliant men realise mid-experiment the need of an extra pair of hands. Plus there's an eye rolling plot point involving a nibbly guinea pig that probably had the actors in stitches.
The lead part is played with a bit of ham, but Robert Powell has not an ounce of fat on him and executes the Michael Caine no-blink-gaze to perfection. The pace drags a bit, owing to the implausibility and illogicality of the second act. Editing is patchy, and the music is standard for the genre. The sets and costumes look good, and the effects for the asphyx itself are acceptable, but the hanging scene is poorly executed when it could have driven home the grim subject of the story. The framing device of a car accident just reminds me that the typical city in early '70s Britain looked much the same as it does today - boxy and grotty.
I know some reviewers enjoy this film, but I'm just tired of period horror. More imagination, please.