User Reviews (19)

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  • navik11 September 2005
    It is very touching psychological drama. There is no blood and gore in it, so it is not for zombie-fan at all. But for me there is a true feeling of identification with the main character. Savage plays his role brilliantly. He is pitiful and sometimes I feel like I was trapped in this horrible situation instead of him. The masterfully shot sinister landscapes also made me real nervous. Maybe it seems strange, but in my opinion the atmosphere in the movie is the same as in Weir's "Picnic at Hanging Rock". And by the way the plot has a much more interesting intrigue than "Six Sense". It was real pleasure watching the film. Sadly it is the last movie made by Fulci. Maybe he had a presentiment about his death and he somehow put it into his last work. Anyway "Door to silence" is another example of his versatile talent. Must see (not only for Fulci's fans)
  • This is unfortunately the last film Fulci would direct and it is a decent film but if you are expecting typical Fulci, this is not your kind of film.

    John Savage plays the part of Melvin Devereux. On his way home he is stopped by a funeral and meets a very strange lady. Upon driving away from the funeral, Melvin gets behind a slow moving hearse who he tries to pass. The man driving the hearse will not let him pass and things suddenly get very strange and turn into a car chase. Melvin then notices his name on the coffin in the back of the hearse and begins to really freak out. The movie then goes on like this until the finale.

    This is a very hard film to review. First off, it plays like a 90 minute Twilight Zone episode which isn't a good thing. This story could have easily have been a 40 to 45 minute short film and that would have been more appropriate. Instead, the film has a lot of random scenes that don't make much sense and even when the finale comes, still does not make any sense. It seems like Fulci was trying to take his film writing in another direction and if he had lived longer may have succeeded.

    All in all, this is not a bad film, but for Fulci fans of the late 70's and early 80's, you might be disappointed. For real hardcore Fulci fans, I would say this is a must see. 7/10
  • Warning: Spoilers
    I am in agreement with the general consensus among viewers' opinions regarding this, Lucio Fulci's final film, that it contains a marginally interesting core concept that, drawn out to feature length, is too threadbare to maintain one's interest consistently. Indeed, its often been said of this 93-minute picture that if you were to cut the right 60 minutes out of it, what you would be left with at most would barely amount to something equal to a serviceable Twilight Zone episode. However, I am mildly impressed that at such a late stage in his career Fulci would upset all expectations by making this attempt at an existentialist horror film that is strictly concerned with mood, place and character instead of violence.

    By the late 1980's Fulci was starting to express his boredom with gore films and even stated as much that the genre was moving in a direction that, to remain interesting, would have to find its horror "from within". Door to Silence was Fulci's first declarative step (or second, actually, as I believe Aenigma follows this trait) toward this new direction, and if he had lived longer I suspect it would have indicated the path his twilight years as a filmmaker would have taken.

    What intrigues about Door To Silence, at least for me personally, are the film's mood and the uncanny circumstances that the main character, played by John Savage, finds himself puppeteered by. The movie is of a kind I term a "situation film", meaning its unconcerned with linear plot and more concerned about the evolution of a certain predicament and how it affects its protagonists. Fulci's movie is fundamentally about a single tragic day in the life of a man, Melvin Deveraux, a traveling real estate agent currently on a business trip who, for reasons not evident to us and even himself, is drawn to aimlessly traveling about the back roads of Louisiana bayou country. It begins to dawn on us that he may longer be inhabiting the real world. In essence he is dead, a non-entity, and is drifting in a strange limbo through unpopulated wastes while we as viewers are cognizant of it while he isn't. Fulci is admirably able to communicate the strangeness of Melvin's situation in the oddly empty landscapes and roads he travels, the few people he interacts with along the way and the long, unending day he seems condemned to inhabit eternally. Its a day in which the sun strangely never seems to set, an observation which he comments on at one point late in the film.

    Some of the other posters have commented on the brief sex scene in the car with the girl named Margie, describing it as unnecessary, but I must argue that the scene fits perfectly into Fulci's plan. In the scene Melvin proves impotent and unable to consummate sex with a young female hitchhiker and is obviously meant as another one of the many clues that Melvin is either dead already, or, in some metaphysical way, is no longer a part of the world around him. Certainly its meant to mirror another scene in the movie where he follows another attractive woman to a hotel room believing he is going to have sex with her, only to be thwarted again when she mysteriously vanishes. In the grand scheme of the film these scenes are hardly unnecessary. Notice also the scene where Melvin stops at at an isolated gas station and approaches an odd, taciturn black man seated in a chair who is staring at him strangely while playing a religious musical instrument like some silent gatekeeper guarding the entrance to a netherworld. This scene is one subtle indication among others that Fulci may have had an intention, albeit vague and underdeveloped, to re-imagine his original vision of the beyond as a southern Gothic hell.

    Meager resources were likely this film's undoing, but I feel that what Fulci was attempting to do here was creditable. In fact, this may seem like an unlikely comparison, but Fulci's movie could be perceived as an Italian relative of sorts to Abbas Kiarostami's highly respected Iranian film Taste Of Cherry. Both films are concerned with distant, disconnected men driving about aimlessly through desolate, nondescript landscapes through the period of a single day in search of their own deaths. The only appreciable difference between them is that in Kiarostami's film the main character was intentionally seeking death, while in Fulci's opus the John Savage character is being drawn toward it unwittingly in a predestined sense, or more likely he is a ghost catching up with the fact that the body he still inhabits is already deceased, much like a spirit trapped within the house that it haunts. The kinship between Fulci's and Kiarostami's films (made six years apart) is so striking, indeed, that I seriously suspect Kiarostami saw Door To Silence and it stuck in his mind. Of course, Taste Of Cherry was a highly honored film in reputable circles that received glowing reviews from major critics as well as winning the Palm d'Or at Cannes in 1997, while Door To Silence endures as an obscure no-budget Italian film made by a director who has always been critically dismissed and ridiculed, supported only by his fans.

    As far as John Savage's performance goes I think he does admirably well under the circumstances. If his acting here seems rather stiff and unemotional I think it has less to do with Savage's talents and more to do with the fact the script just doesn't give him much to do, again stemming from the fact that Door To Silence is a film not about events, but a condition. However, if one is inclined to be buoyed along by the film's metaphysical implications, then Melvin Deveraux's muted personality and lack of character traits for the viewer to connect with could reasonably be construed as just a result of the transcendental quandary that he is unknowingly a victim of.
  • As has been stated, this is Lucio's last film. I watched it last night and I happen to think it's one of his best. It has aged well.

    The plot is simple enough: a guy is trying to get home to Baton Rouge from what I will guess was New Orleans, judging from the opening scene on Lake Ponchartrain bridge. The highway is shut down ahead, so he has to take backroads. He starts to see a mysterious lady who seems to be wherever he goes. Also getting on his nerves is a hearse whose driver seems to be a road hog in the most serious way. The guy starts to go mad and begins to discover that what is in the back of the hearse is a surreal nightmare. He plunges into a world of insanity and dreamlike terror that lasts the whole film.

    "Door To Silence" is best viewed with no expectations. That's how I watched it and I was pleasantly surprised. It does not have gore like other Fulci greats, but it does contain some genuine suspense and nail-biting tension, something that is hardly found in other Fulci movies.

    As Fulci's last, this one has not garnered the kind of attention that "Zombi 2" and "The Beyond" have...but I really liked it and I think if you're a true fan of this guy, you will appreciate it's grindhouse appeal and genuinely creepy atmosphere.

    9 out of 10, kids.
  • Coventry6 January 2014
    To me, personally, Lucio Fulci is (a) God. Regardless of what the haters may say, Fulci – the one and only Godfather of Gore – wrote & directed some of the most brilliantly entertaining, revolutionary and provocative horror movies ever made. He was one of the busiest men amongst the Italian cinema fanatics, with nearly 60 titles directed in a span of more or less 30 years. Almost typical for devoted directors, Lucio Fulci also didn't know when to stop, or just didn't want to stop. Perhaps it was best for him to retire after the insanely gory and brilliant (and semi-biographical) "Cat in the Brain" or even sooner, but Fulci didn't retire and made three more movies of which "Door into Silence" was his very last. This is a very atypical Fulci and – admittedly – far from his greatest work, but I'm nevertheless proud and content that I saw this obscure gem, in spite of all its little shortcomings.

    For his swan song Fulci returns to Louisiana, previously already the setting of his ultimate masterpiece "The Beyond". After visiting his father's grave at the cemetery, real estate agent Melvin Devereux attempts to get home to his wife, but road works, detours and engine trouble prevent him from doing so. His seemingly endless journey takes him further and deeper in the bayou, where Melvin repeatedly encounters a mysterious beauty and a sinister hearse that won't let him pass. Melvin becomes increasingly paranoid, especially when he suddenly suspects that the cadaver inside the hearse might be someone very dear to him. Who had thought that Lucio Fulci would end his rich and controversial career with a genuine attempt at an intelligent, supernaturally themed thriller? As a die-hard fan, I really wished that our director would have succeeded in astounding both his admirers and his opponents, but sadly this isn't the case. "Door into Silence" contains too many dull scenes of John Savage aimlessly driving around remote areas in his filthy Buick, with monotonous jazz music playing in the background and pointless encounters left and right. The denouement, predictable for attentive viewers, is similar to quite a few other classic and less classic films in the genre. Of course, I can't list the titles of these films as I would also reveal the whole twist ending by doing so. John Savage does his best to add mystery through his adequate performance and Fulci definitely picked out some of the nicest filming locations in all of Louisiana, but it just isn't enough. Like a few other reviewers already stated, "Door into Silence" would have been more effective as a short episode in a series like "Twilight Zone" or as a separate story in a horror anthology. Still, the fact that it's a final and gore-free Fulci effort with a handful of atmospheric moments, makes it worth a recommendation.
  • For what turned out to be his final project, Lucio Fulci opted for something different, a type of film that he really hadn't made before - a Rod Serling kind of tale of the journey of an American businessman in search of answers regarding his own existence. As this man drives through the Louisiana countryside he encounters a strange woman several times as well as a hearse with his name on the coffin. It doesn't take long before he realizes something is up and he frantically attempts to discover what it is.

    John Savage is superb as the confused Melvin Devereux, likely the greatest performance of his career that I've seen. He doesn't overplay or underplay, and his reactions are seemingly entirely natural. The other actors and actresses in "Door To Silence" cannot compare to Savage but do very well nonetheless, while Fulci directs with a subtle fluidity and sense of reflective affection which had become increasingly rare for the master after his career really took off circa 1980.

    This isn't a perfect film, there are a couple of slightly poor edits and several 'what the hell' parts (a motel stay for 15 minutes, a phone that rings before dialing, etc. - although these can be seen as being perfect for the unreality of Melvin's situation). The same camera problem that plagued "Demonia" also pops up in "Door To Silence" here and there, but not to the same extent nor to the film's detriment.

    Sadly enough, I don't know if this final effort will ever be truly accepted. It's not generally of interest to Fulci's fans as it's not horror, and despite it's artistic cult appeal, Fulci is unknown to the art-house audience (if not outright vilified). It is really a shame that despite the high quality of "Door To Silence", Fulci's name was replaced with a fictional one for apparently some bizarre commercial reasons.

    "Door To Silence" is a near-masterpiece and more than deserves to be seen, and now can be due to it's very welcome release on DVD by Severin. Check it out while you can, you won't be sorry.
  • pumaye1 May 2003
    This attempt to psychological horror is a misguided step by Fulci: it is a sort on variation over Incident at Owl Creek, and it is slow, boring, terribly slow, a continuous procession of funeral and abysmal car chases, acted by a spirited John Savage, in his worst role ever. a failure in every respect.
  • Well,due to the complex Man that Lucio Fulci was,I think that this Movie wasn't so bad that certain people want it to be.I think that since it was his last movie,He Went Out in Style! I Mean: Look at it's Budget! He proved he could make a Movie nearly without a Budget at all! No,not his greatest achievement,but He Went Out In Style! A complex and a Superb Film Maker! No one can come close.Fulci is purely FULCI! Enjoy or Die!(not even trying).Fulci was responsible for(or known for)the Splatter/Zombie movie "Zombi 2" in Italy(an unofficial follow up to George A.Romero's "Dawn Of The Dead"),but he made Movies far more better than that one.Just take a look at his "Don't Torture a Duckling" where he proved himself as a Superb Film maker! He made several Movies as well,which is as good as well.It's just a matter of taste! Long Live The master Of Italian "Grand Guignol".
  • Warning: Spoilers
    Melvin Devereux leaves a funeral intent on driving back home but it turns into a nightmare journey with a beautiful strange woman, a mysterious hearse and lost of roadworks that impede his journey. Halfway through the film I was thinking, hope there is a good payoff to all of this. And there wasn't one unfortunately. A bit of a letdown really as there is lots of uncanny atmosphere and some good scenes.

    Two things stood out for me, one being John Savage as Devereaux, He is onscreen for most of the time and his gathering confusion and fear is well portrayed. The other thing is the locations. The film takes place largely in sunlight with seemingly pretty landscapes but in the film the world becomes inimical; roads go nowhere, bridges become hard to cross, mud clogs car wheels.

    The film has style but alas no substance.
  • This is considered to be lucio fulci's last film before he passed away from diabetes. He wrote a couple screenplays and was supposed to direct another film but got too sick. But this is hos last film but not your average fulci film. Absolutely no gory violence or sleazy sex. But a great twilight zone type movie. Great atmosphere and John savage as the main character. I would recommend it but if your looking for gore and violence, you're going to be disappointed. Not to mention Laura gemser did the costumes and joe d'amato produced.
  • This is a film set in Louisiana just like The Beyond. Though if you like Fulci movies because of the gore, this one has pretty much no gore. The viewer is taken on a confusing ride with John Savage who plays a guy driving around and having some car trouble. He encounters different beautiful women and troubles in an attempt to get some place which we aren't exactly certain where.

    I have noticed Fulci often uses shiny metal to create an effect. This was done quite often in this one. Enjoyable, cheap, and stylish film if you are in the right mood.
  • Warning: Spoilers
    Lucio Fulci's final film is an odd duck, a very different approach directorially than what he was normally making during the 80s. No gore to speak of and this could be the first film to feature a method actor as Fulci's main star. The problem is that "Door Into Silence" isn't altogether exciting. We spend 98 % of the time following John Savage's Marvin Devereaux inside his Chevy Sedan, as he pursues a hearse, afraid the body inside might be his own. Feels like a homage to Twilight Zone and films about a character caught in a bizarre series of events where his fate is inevitable and obvious, even to Marvin himself although he must actually see his corpse in the casket before fully accepting that he is deceased. I think this will be more of a curio to the Fulci cult than casual horror fans because "Door Into Silence" is such an atypical film in the director's overall cannon. Fulci has plenty of style to spare and technically I think this film is just as good as anything he has ever made. It is the idea that we spend so much time inside the car with Savage, occasionally he ventures out, to question what body lies in the casket, but great portions of the film has him chasing after the mortician and his hearse, coming across dangerous hazardous road conditions, car trouble, a mysterious woman who "has an interest in him", a mystic who discovers a secret about him and is so horrified she croaks (!), and numerous citizenry while driving through Louisiana. I could sense that Fulci was greatly interested in the state of Louisiana as he shoots at great length and expense all throughout various locations, particularly backwoods and desolate streets. I think this will be of certain intrigue to Fulci fans, but because the director devoted so much time to Savage's travels (it almost felt like a travelogue to me, most of the time), I also feel "Door Into Silence" will alienate his most vocal, loving supporters. Many care first and foremost about the ultra violence. I think "Cat in the Brain" was his last will and testament to his many years grossing horror fans out. I think "Door Into Silence" was a liberating picture for Fulci to make as it frees him from the box he was often closed in due to expectations from those who hold him in such high regard. To know that his final film would have no gore is fascinating unto itself. Instead, this film opts for fantasy, with Fulci allowing his central character to come across a pretty, but obnoxious hitchhiking hooker, patrolling police who catch him running a road block sign, a hunter in the woods he thinks is planning to shoot him (!), a mechanic who talks him into renting a room (he doesn't even stay in overnight!), and the mortician (who is a real jerk, playing road racing games with Savage, not allowing him to pass). Savage plays his character as a reactionary man, responding to each weird event or crisis with bewilderment and frustration. The sheer terror of a trip to the funeral home, perusing caskets containing bodies named Marvin Devereaux is probably Savage's best scene in the movie. My favorite scene has Savage crossing a less-than-trustworthy wooden plankboard bridge. Just be forewarned that this is a different kind of Fulci film, while he has always had plots featuring strange scenarios and characters, "Door Into Silence" doesn't adhere to the tropes associated with his output so prevalent in the previous decade.
  • Door to Silence was the last film from the Godfather of Gore Lucio Fulci, and like most of his latter day output; it's not among the great Italian director's best films. It would seem that after he made the uber-gory Cat in the Brain, Fulci lost the appetite for the red stuff that made him famous, as this film and the earlier Voices From Beyond are more along the lines of a supernatural drama, and while this one isn't as bad as the other - neither are as great as Fulci's best work. The plot is of the slow build variety and indeed, it takes a long time for it to get anywhere. We focus on Melvin Devereux, a man who drives around in his car. Apparently he's driving aimlessly around Louisiana after the death of his father. Then strange things start happening to him - he meets a strange woman who keeps following him, but more ominously, there's a strange hearse driving around too. As he gradually starts to lose his mind, Melvin soon begins to realise that these omens may be pointing towards something.

    The main problem with this film is that there is very little to keep your interest. Fulci implants a number of set pieces, but the best of them - a scene that sees Melvin pick up a hitch hiker who wants $50 for sex - isn't even relevant to the central plot. I have to be honest and say that I didn't really care about what the problem with the central character was either. The film is lead by John Savage and the problems with the film are nothing to with his performance. He's good in the lead role, even if he doesn't really impress all that much. Fulci manages to create an almost hallucinogenic road atmosphere which benefits the mysterious plot well. The supporting characters don't really add much, however. A movie like this really should see the star meeting diverse and interesting people; but that doesn't really happen. I doubt many will be too affected by anything by the time the film ends; I couldn't really care less by then. As you would probably expect, I can't recommend this film. Fulci has done worse (Manhattan Baby, Voices From Beyond), but this film is still down there. Skip it!
  • As a Fulci fan, I certainly wanted to see his last film. It is not the typical blood and gore, but a supernatural thriller.

    Melvin Devereux (John Savage) leaves his father's funeral and heads into the back roads of Louisiana, where he keeps running into a mystery woman (Sandi Schultz). After his last encounter he gets behind a hearse and we have a thrilling chase as it will not let him pass. He finally catches up to the hearse and finds the name of the cadaver. When he gets to the mortuary, all the cadavers have the same name.

    Savage has a determined and confused look about him at all times as he tries to make sense of things.

    Strange Twilight Zone ending.
  • Warning: Spoilers
    Like a Twilight Zone episode, slow, decent acting and music and atmosphere

    Not much else to recommend. It's a decent movie. But the guy is dead and driving from place to place. Slow and boring at times. The acting and music keep it going. But it's basically a B movie. Rating is a C, or 6 stars.

    Opening scene was great. Good cinematography and music.

    Like a Twilight Zone episode, slow, decent acting and music and atmosphere

    Not much else to recommend. It's a decent movie. But the guy is dead and driving from place to place. Slow and boring at times. The acting and music keep it going. But it's basically a B movie. Rating is a C, or 6 stars.

    Opening scene was great. Good cinematography and music.
  • valis19499 March 2012
    DOOR INTO SILENCE (dir. Lucio Fulci)..... Sometimes a movie is so full of inconsistencies and mistakes you wonder if anyone even watched the film before it was released. This film is one of those. After the death of his father, a young man drives the back roads of Louisiana, and has a bit of car trouble. It is never really explained where he is going or why, but he is directed to a mechanic, and the man tells him that it will take fifteen minutes for him to repair his car, and he advises that he check into a motel to clean up (his hands are dirty). If a fifteen minute wait requires you to rent a motel room, would a couple of hours of repair time necessitate the purchase of a home in the area, and sign- up for a library card? Then, endless mundane car chases down two lane roads, and we haven't even gotten to the supernatural part of the tale, and that part was not 'super' by any stretch of the imagination.
  • Warning: Spoilers
    I am a B-Movie fanatic. So when I saw this on my screen tonight with Lucio Fulci's name attached in my favorite city NOLA. I was thrilled. What I got. A movie with little dialogue. Obvious characters that were suppose to be "mysterious", a car chase (no really the whole movie is a CAR CHASE-THE WHOLE MOVIE),and a cliché ending. Now Fulci is the king of B-Horror. This however is not anywhere near his standards. Missing all his signature blood work. Definitely missing his love of the female form. A lot of his violence and fight work. It is so far from what Lucio Fulci is known for that I am still queasy as to how this even has his name on it. If you want to delve into Fulci start with his zombie movies skip this entirely. I think you're smarter than this. So was he.
  • Door to Silence (1991)

    ** (out of 4)

    Even though he was turning out one gore film after another, director Lucio Fulci ended his career with this psychological drama, which doesn't feature a drop of the red stuff. In the film, John Savage (THE DEER HUNTER) plays a man leaving New Orleans where he went to visit his father's grave. On the way home he keeps running into closed roads, a mysterious woman (Sandi Schultz) and a strange hearse. Back in the day fans got excited when they learned Fulci was returning to the same grounds as his THE BEYOND but if anyone expects the same type of film then they're going to be very disappointed. This film here plays out like an episode of The Twilight Zone and I'm sure that show was the main influence on the director here. The biggest problem is that the movie runs nearly 90-minutes and the screenplay isn't smart enough to keep everything working. The biggest problem is that we get the same stuff over and over. Savage will run into the woman then see the hearse and then run into a closed road. These thing happen at least eight or more times and we even get some stuff that's the same shot over and over. There are also several goofs in the film or things that simply don't make sense. Savage is in a hurry to get home but when his car breaks down the mechanic tells him it will be fifteen-minutes to fix it but what does Savage do since he's in a hurry? He checks into a motel. There are other, what I believe to be, goofs including a country hitchhiker wanting a ride to Memphis for a country music festival. I'm guessing it was meant to be Nashville but the dubbing director didn't do any homework. Savage actually turns in a fairly decent performance, although he doesn't have too much to do. Schultz is also easy on the eyes and makes for a good mystery. The rest of the cast are decent at best but that's what you expect in a movie like this. Again, this isn't your typical Fulci film and I do take my hat off to him for trying something new and getting away from the gore. His direction is quite nice here as he handles everything pretty well but the screenplay just really kills anything he has going. Laura Gemser is credited as Costume Designer.
  • Warning: Spoilers
    'Door Into Silence' turned out to be Lucio Fulci's final film, completed in 1991. His previous movie 'Voices From Beyond' (also made in 1991) is in retrospect hailed as Fulci's final film of any real quality but that line of thought sorely overlooks 'Door Into Silence'. Hollywood actor John Savage stars as 'Melvin Devereux', a man who embarks on a decent towards his own demise, a demise that he eventually discovers has already taken place.

    Devereux's last day seems at first to be just like any other, as he drives along minding his own business. Things begin to take a turn for the worst when he has a few encounters with a mysterious woman and eventually a hearse which to his horror has his name displayed in the floral decoration next to the coffin.

    Devereux follows the hearse as his journey turns surreal, the continious driving sending him into a fog of psychological confusion. John Savage portrays the character of Melvin Devereux in a subtle understated manner, which allows the true doom awaiting him to slowly unfold, or perhaps more accurately, allow him time to discover what has already transpired.

    You'll see the ending coming, and you're meant to, for as confused as Devereux is, the plots foreshadowing is 'anything' but subtle, and given subtle is not a word that was ever accociated with director Lucio Fulci, its fitting that this psychological horror film continued that career defining trend.

    Many detractors of the movie claim its a slow narrative that meandered its way to nowhere. Its a shame those same detractors didn't point out the fact that John Savage's character had already got to his destination before he ever set off. Sometimes, ghosts don't know they're dead.