Жаман рухтар мен қарапайым үйдің қасіреті

1981 film by Sam Raimi

Five Michigan State University students – Ash Williams, his girlfriend Linda, his sister Cheryl, their friend Scott, and Scott's girlfriend Shelly – vacation at an isolated cabin in rural Tennessee. Approaching the cabin, the group notices the porch swing move on its own but suddenly stop as Scott grabs the door key. While Cheryl draws a picture of a clock, the clock stops, and she hears a faint, demonic voice tell her to "join us". Her hand becomes possessed, turns pale and draws a picture of a book with a demonic face on its cover. Although shaken, she does not mention the incident. When the cellar trapdoor flies open during dinner, Shelly, Linda, and Cheryl remain upstairs as Ash and Scott investigate the cellar. They find the Naturom Demonto, a Sumerian version of the Egyptian Book of the Dead, along with archaeologist Raymond Knowby's tape recorder, and they take the items upstairs. Scott plays a tape of incantations that resurrect a demonic entity. Cheryl yells for Scott to turn off the tape recorder, and a tree branch breaks one of the cabin's windows. Later that evening, an agitated Cheryl goes into the woods to investigate strange noises and she's attacked and raped by the vines and branches of demonically possessed trees. When she escapes and returns to the cabin bruised and anguished, Ash agrees to take her back into town, only to discover that the bridge to the cabin has been destroyed. Cheryl panics as she realizes that they are now trapped and the demonic entity will not let them leave. Back at the cabin, Ash learns from the tape that the only way to kill the entity is to dismember a possessed host. As Linda and Shelly play spades, Cheryl correctly calls out the cards without looking at them, turns into a Deadite and begins levitating. In a raspy, demonic voice, she demands to know why they disturbed her sleep and threatens to kill everyone. She stabs Linda in the ankle with a pencil and throws Ash into a shelf. Scott knocks Cheryl into the cellar and locks her inside. Everyone fights about what to do. Having become paranoid upon seeing Cheryl's demonic transformation, Shelly goes to her room but is drawn to look out of her window, where a demon crashes through and attacks her, turning her into a Deadite. She attacks Scott before he throws her into the fireplace, slashes her wrist and then stabs her in the back with a Sumerian dagger, apparently killing her. When she reanimates, Scott dismembers her with an axe. Ash and Scott then bury her remains. Shaken by the experience, Scott decides to leave in order to find a way back to town. He returns shortly after, mortally wounded from the possessed trees, and dies while warning Ash that the trees will not let them escape alive. When Ash checks on Linda, he is horrified to find that she has become possessed. She attacks him, but he stabs her with the Sumerian dagger. Unwilling to dismember her, he buries her instead. She revives and attacks him, forcing him to decapitate her with a shovel. Her headless body bleeds on his face as it tries to rape him. He manages to escape as Linda dies, and then retreats back to the cabin. Back inside, Ash discovers that Cheryl has escaped the cellar. Cheryl eludes Ash, and attempts to choke him. Ash escapes her grasp, then shoots Cheryl in the jaw. As Ash is barricading the door, Scott's dead body reanimates into a Deadite. Scott attacks Ash, and inadvertently knocks the book close to the fireplace. Ash gouges Scott's eyes out and pulls a tree branch from Scott's stomach, causing him to bleed out and fall to the ground. Cheryl breaks through the trapdoor and knocks Ash to the floor. As Scott and Cheryl continue to attack Ash on the ground, Ash grabs the book and throws it into the fireplace. While the book burns, the Deadites freeze in place, then begin to rapidly decompose. Large appendages burst from both corpses, covering Ash in blood. The bodies of Scott and Cheryl then completely decompose. Dawn breaks, and Ash stumbles outside. As Ash walks away from the cabin, an unseen demon moves rapidly through the forest, rushes through the cabin, and attacks him as he screams in terror.

The film was made on Kodak 16mm film stock with a rented camera. The inexperienced crew made filming a "comedy of errors". The first day of filming led to them getting lost in the woods during a scene shot on a bridge. Several crew members were injured during the shoot, and because of the cabin's remoteness, securing medical assistance was difficult. One notably gruesome moment on set involved ripping off Baker's eyelashes during removal of her face mask. Because of the low budget, contact lenses as thick as glass had to be applied to the actors to achieve the "demonic eyes" effect. The lenses took ten minutes to apply, and could only be left on for about 15 minutes because eyes could not "breathe" with them applied. Campbell later commented that to get the effect of wearing these lenses, they had to put "Tupperware" over their eyes. Raimi developed a sense of mise en scène, coming up with ideas for scenes at a fast rate. He had drawn several crude illustrations to help him break down the flow of scenes. The crew was surprised when Raimi began using Dutch angles during shots to build atmosphere during scenes. To accommodate Raimi's style of direction, several elaborate, low budget rigs had to be built, since the crew could not afford a camera dolly. One involved the "vas o cam", which relied on a mounted camera that was slid down long wooden platforms to create a more fluid sense of motion. A camera trick used to emulate a Steadicam inexpensively was the "shaky cam", which involved mounting the camera to a piece of wood and having two camera operators sprint around the swamp. During scenes involving the unseen force in the woods watching the characters, Raimi had to run through the woods with the makeshift rig, jumping over logs and stones. This often proved difficult due to mist in the swamp. The film's final scene was shot with the camera mounted to a bike, while it was quickly driven through the cabin to create a seamless long take. Raimi had been a big fan of The Three Stooges during his youth, which inspired him to use "Fake Shemps" during production. In any scene that required a background shot of a character, he used another actor as a substitute if the original actor was preoccupied. During a close up involving Richard DeManicor's hand opening a curtain, Raimi used his own hand in the scene since it was more convenient. His brother Ted Raimi was used as a "Fake Shemp" in many scenes when the original actor was either busy or preoccupied. Raimi enjoyed "torturing" his actors. Raimi believed that to capture pain and anger in his actors, he had to abuse them a little at times, saying, "if everyone was in extreme pain and misery, that would translate into a horror".

After the extensive filming process, Raimi had a "mountain of footage" that he had to put together. He chose a Detroit editing association, where he met Edna Paul, to cut the film. Paul's assistant was Joel Coen of the Coen brothers, who helped with the film's editing. Paul edited a majority of the film, although Coen edited the shed sequence. Coen had been inspired by Raimi's Within the Woods and liked the idea of producing a prototype film to help build the interest of investors. Joel used the concept to help make Blood Simple with his brother Ethan, and he and Raimi became friends following the editing process. The film's first cut ran at around 117 minutes, which Campbell called an impressive achievement in light of the 65 minute length of the screenplay. The cut scenes were to focus on the main character's lamentation of not being able to save the victims from their deaths, but was edited down to make the film less "grim and depressing" and to be a more marketable 85 minutes. Raimi was inspired by the fact that Brian De Palma was editing his own film Blow Out with John Travolta at the same sound facility. One of the most intricate moments during editing was the stop motion animation sequence where the corpses "melted", which took hours to cut properly. The film had unique sounds that required extensive recording from the crew. Several sounds were not recorded properly during shooting, which meant the effects had to be redone in the editing rooms. Dead chickens were stabbed to replicate the sounds of mutilated flesh, and Campbell had to scream into a microphone for several hours. Much like Within the Woods, The Evil Dead needed to be blown up to 35mm, the industry standard, to be played at movie theaters. The relatively large budget made this a much simpler process with The Evil Dead than it had been with the short film.

With the film completed, Raimi and the crew decided to celebrate with a "big premiere". They chose to screen the film at Detroit's Redford Theatre, which Campbell had often visited as a child. Raimi opted to have the most theatrical premiere possible, using custom tickets and wind tracks set in the theater, and ordering ambulances outside the theater to build atmosphere. The premiere setup was inspired by horror director William Castle, who would often attempt to scare his audiences by using gimmicks. Local turnout for the premiere exceeded the cast's expectations, with a thousand patrons showing up. The audiences responded enthusiastically to the premiere, which led to Raimi's idea of "touring" the film to build hype. Raimi showed the film to anyone willing to watch it, booking meetings with distribution agents and anyone with experience in the film industry. Eventually Raimi came across Irvin Shapiro, the man who was responsible for the distribution of George A. Romero's Night of the Living Dead and other famous horror films. Upon first viewing the film, he joked that while it "wasn't Gone with the Wind", it had commercial potential, and he expressed an interest in distributing it. It was his idea not to use the then title Book of the Dead, because he thought it made the film sound boring. Raimi brainstormed several ideas, eventually going with The Evil Dead, deemed the "least worst" title. Shapiro also advised distributing the film worldwide to garner a larger income, though it required a further financial investment by Raimi, who managed to scrape together what little money he had. Shapiro was a founder of the Cannes Film Festival, and allowed Raimi to screen the film at the 1982 festival out of competition. Stephen King was present at its screening and gave the film a rave review. USA Today released an article about King's favorite horror films; the author cited The Evil Dead as his fifth favorite film of the genre. The film severely affected King, who commented that while watching the film at Cannes, he was "registering things [he] had never seen in a movie before". He became one of the film's largest supporters during the early efforts to find a distributor, eventually describing it as the "most ferociously original film of the year", a quote used in the film's promotional pieces. Raimi said in 1990 that the film "did very well overseas and did very poorly domestically" and that its investors earned a return of "about five times their initial investment." In the US, the film received an X rating. Films with this label were quite violent and disturbing, and the rating was often held by pornographic films. The film has since been re rated NC 17 for “substantial graphic horror violence and gore”, though many recent home media releases have been released without a rating. The film was and is still banned either theatrically or on video in some countries.

The first VHS release of The Evil Dead was released by Thorn EMI in 1983, and Thorn's successor company HBO/Cannon Video later repackaged the film. Former HBO Video's partner Congress Video, a company notable for public domain films, issued its version in 1989. In its first week of video release, the film made £100,000 in the UK. It quickly became that week's bestselling video release, and later became the year's bestselling video in the UK, out grossing large budget horror releases such as The Shining. Its impressive European performance was chalked up to its heavy promotion there and the more open minded nature of European audiences. The resurgence of The Evil Dead in the home video market came through two companies that restored the film from its negatives and issued special editions in 1998: Anchor Bay Entertainment on VHS, and Elite Entertainment on LaserDisc. Anchor Bay was responsible for the film's first DVD release on January 19, 1999, along with Elite releasing the special collector's edition DVD on March 30, 1999, and between them, Elite and Anchor Bay have released six different DVD versions of The Evil Dead, most notably the 2002 "Book Of The Dead" edition, packaged in a latex replica of the Necronomicon sculpted by Tom Sullivan and the 2007 three disc "Ultimate Edition" which contained the widescreen and original full frame versions of the movie. The film's high definition debut was in a 2010 Blu ray. Lionsgate Films released a 4K Ultra HD Blu ray edition of The Evil Dead on October 9, 2018.

Upon its release, contemporary critical opinion was largely positive. Bob Martin, editor of Fangoria, reviewed the film before its formal premiere and proclaimed that it "might be the exception to the usual run of low budget horror films". He followed up on this praise after the film's premiere, stating: "Since I started editing this magazine, I have not seen any new film that I could recommend to our readers with more confidence that it would be loved, embraced and hailed as a new milestone in graphic horror". The Los Angeles Times called the film an "instant classic", proclaiming it as "probably the grisliest well made movie ever." In a 1982 review, staff from Variety wrote that the film "emerges as the ne plus ultra of low budget gore and shock effect", commenting that the "powerful" and inventive camerawork was key to creating a sense of dread. British press for the film was positive; Kim Newman of Monthly Film Bulletin, Richard Cook of NME and Julian Petley of Film and Filming all gave the film good reviews during its early release. Petley and Cook compared the film to other contemporary horror films, writing that the film expressed more imagination and "youthful enthusiasm" than an average horror film. Cook described the camera work by Raimi as "audacious", stating that the film's visceral nature was greatly helped by the style of direction. Woolley, Newman and several critics complimented the film for its unexpected use of black comedy, which elevated the film above its genre's potential trappings. All three critics compared the film to the surrealistic work of Georges Franju and Jean Cocteau, noting the cinephilic references to Cocteau's film Orpheus. Writer Lynn Schofield Clark in his novel From Angels to Aliens compared the film to better known horror films such as The Exorcist and The Omen, citing it as a key supernatural thriller.

Empire stated the film's "reputation was deserved", writing that the film was impressive considering its low budget and the cast's inexperience. He commented that the film successfully blended the "bizarre" combination of Night of the Living Dead, The Texas Chain Saw Massacre and The Three Stooges. A reviewer for Film4 rated The Evil Dead four and a half stars out of five, musing that the film was "energetic, original and icky" and concluding that Raimi's "splat stick debut is a tight little horror classic that deserves its cult reputation, despite the best efforts of the censors." Slants Ed Gonzales compared the film to Dario Argento's work, citing Raimi's "unnerving wide angle work" as an important factor to the film's atmosphere. He mused that Raimi possessed an "almost unreal ability to suggest the presence of intangible evil", which was what prevented the movie from being "B movie schlock". BBC critic Martyn Glanville awarded the film four stars out of five, writing that for Raimi, it served as a better debut film than Tobe Hooper's The Texas Chain Saw Massacre or Wes Craven's The Last House on the Left. Glanville noted that other than the "ill advised trees that rape scene", the film is "one of the great modern horror films, and even more impressive when one considers its modest production values." Filmcritic. com's Christopher Null gave the film the same rating as Glanville, writing that "Raimi's biggest grossout is schlock horror done the right way" and comparing it to Romero's Night of the Living Dead in its ability to create stark atmosphere. Chicago Reader writer Pat Graham commented that the film featured several "clever" turns on the standard horror formula, adding that Raimi's "anything for an effect enthusiasm pays off in lots of formally inventive bits." Time Out critic Stephen Garrett, referred to the make up effects in the climax as "amazing", and commented that although the film was light on character development, it "blends comic fantasy" with "atmospheric horror to impressive effect". The same site later cited the film as the 41st greatest horror movie ever made. Phelim O'Neill of The Guardian combined The Evil Dead and its sequel Evil Dead II and listed them as the 23rd best horror film ever made, announcing that the former film "stands above its mostly forgotten peers in the 80s horror boom." Don Summer, in his book Horror Movie Freak, and writer Kate Egan have both cited the film as a horror classic. J. C. Maçek III of PopMatters said: "What is unquestionable is that the Raimis and their pals created a monster in The Evil Dead. It started as a disastrous failure to obtain a big break with a too long, too perilous shoot (note Campbell's changing hairstyle in the various scenes of the one day plot). The film went through name changes and bannings only to survive as not only 'the ultimate experience in grueling horror' but as an oft imitated and cashed in on classic, with 30 years of positive reviews to prove it."

Unofficial sequels were made in Italy, where the film was known as La Casa ("The House"). Produced by Joe D'Amato's Filmirage, two mostly unrelated films were released and marketed as sequels to Evil Dead II: Umberto Lenzi's La Casa 3: Ghosthouse and La Casa 4: Witchery starring Linda Blair and David Hasselhoff. The final film was released in 1990 and titled, La Casa 5: Beyond Darkness. The film House II: The Second Story was reissued and retitled in Italy as La Casa 6; followed by The Horror Show which was released in Italy as La Casa 7.

The original Evil Dead trilogy of films has been recognized as one of the most successful cult film series in history. David Lavery, in his book The Essential Cult TV Reader, surmised that Campbell's "career is a practical guide to becoming a cult idol". The film launched the careers of Raimi and Campbell, who have since collaborated frequently. Raimi has worked with Campbell in virtually all of his films since, and Campbell has appeared in cameo roles in all three of Raimi's Spider Man films (as well as a very brief appearance at the end of Darkman), which have become some of the highest grossing films in history. Though it has often been considered an odd choice for Raimi, a director known for his violent horror films, to direct a family friendly franchise, the hiring was mostly inspired by Raimi's passion for comic books as a child. Raimi returned to the horror comedy genre in 2009 with Drag Me to Hell. Critics have often compared Campbell's later performances to his role in Evil Dead, which has been called his defining role. Campbell's performance as Ash has been compared to roles ranging from his performance of Elvis Presley in the film Bubba Ho tep to the bigamous demon in The X Files episode "Terms of Endearment". Campbell's fan base gradually developed after the release of Evil Dead II and his short lived series The Adventures of Brisco County, Jr He is a regular favorite at most fan conventions and often draws sold out auditoriums at his public appearances. The Evil Dead developed a substantial cult following throughout the years, and has often been cited as a defining cult classic. The Evil Dead has spawned a media franchise. A video game adaptation of the same name was released for the Commodore 64 in 1984, as was a trilogy of survival horror games in the 1990s and early 2000s: Evil Dead: Hail to the King, Evil Dead: A Fistful of Boomstick and Evil Dead: Regeneration. Ted Raimi did voices for the trilogy, and Campbell returned as the voice of Ash. The character Ash became the main character of a comic book franchise. Ash has fought both Freddy Krueger and Jason Voorhees in the Freddy vs. Jason vs. Ash series, Herbert West in Army of Darkness vs. Re Animator, zombie versions of the Marvel Comics superheroes in Marvel Zombies vs. The Army of Darkness, and has even saved the life of a fictional Barack Obama in Army of Darkness: Ash Saves Obama. In January 2008, Dark Horse Comics began releasing a four part monthly comic book mini series, written by Mark Verheiden and drawn by John Bolton, based on The Evil Dead. The film has also inspired a stage musical, Evil Dead: The Musical, which was produced with the permission of Raimi and Campbell. The musical has run on and off since its inception in 2003. After the film was released, many people began to trespass onto the filming location in Morristown. In 1982, the cabin was burned down by drunken trespassers. Although the cabin is now gone, the chimney remains, which many people now take stones from when they trespass onto the location. In 2022, a video game adaptation of the series called Evil Dead: The Game was released. In 2021, heavy metal band Ice Nine Kills released a song titled "Ex Mørtis" on their album The Silver Scream 2: Welcome to Horrorwood, which is composed of songs each explicitly linked to specific horror media per the album's booklet of liner notes; "Ex Mørtis" is stated to be inspired by The Evil Dead.