Director Sam Raimi’s first film has achieved legendary status since its 1982 release, and for good reason. Though perhaps not as widely seen as its two sequels, EVIL DEAD 2 and ARMY OF DARKNESS, THE EVIL DEAD is arguably the best of the three. It is the story of five college-age friends who travel to a cabin in rural Tennessee where the stumble upon the Book of the Dead, an ancient tome bound in human flesh and inked in blood. After unwittingly awakening the unspeakable terror told of in the book, each of the friends is transformed into the evil dead, one by one, except for Ash (Bruce Campbell). So, Ash is left with no other way to survive than to dismember the living corpses of his sister, girlfriend, and two of his friends. Shot on a shoestring budget, the film boasts some impressive camera work and extremely over-the-top gore effects as well as a sense of humor much more subtle than the tongue-in-cheek aesthetic of the two sequels.In the fall of 1979, Sam Raimi and his merry band headed into the woods of rural Tennessee to make a movie. They emerged with a roller coaster of a film packed with shocks, gore, and wild humor, a film that remains a benchmark for the genre. Ash (cult favorite Bruce Campbell) and four friends arrive at a backwoods cabin for a vacation, where they find a tape recorder containing incantations from an ancient book of the dead. When they play the tape, evil forces are unleashed, and one by one the friends are possessed. Wouldn’t you know it, the only way to kill a “deadite” is by total bodily dismemberment, and soon the blood starts to fly. Raimi injects tremendous energy into this simple plot, using the claustrophobic set, disorienting camera angles, and even the graininess of the film stock itself to create an atmosphere of dread, punctuated by a relentless series of jump-out-of-your-seat shocks. The Evil Dead lacks the more highly developed sense of the absurd that distinguish later entries in the series–Evil Dead 2 and Army of Darkness–but it is still much more than a gore movie. It marks the appearance of one of the most original and visually exciting directors of his generation, and it stands as a monument to the triumph of imagination over budget. –Simon Leake

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