Applied upon on a vague background of movingfogappears the title, swaying waywardly. It fades away and the camera begins to move over what is exposed to be a dark pond in a gloomy forest in the kind of 'how do they do it' tracking shot for which the film is known (America Online, 1994). The camera races through the woods evading trees with inches to spare, in place of some subjective point of viewthat is clearly not human beings. The soundtrack is a loomingdissonance of hollow laughter and bizarre howling tones. Inter-cut with these glimpses of a world seen through the eyes of some inconceivable evil, are shots of a car wandering through a forest. Inside are five innocent looking youngsters, two of them are singing happily.
There is no clear connection between the two until thecamera comes to the edge of the forest and takes a glimpse down onthe automobile that the youngsters are traveling in. At thesame time some kind of unknown force takes control of the car, almost crashing it into a meeting truck. It is then apparent that they are not welcome into these woods.
A rather indiscrete indication is received in the way common to many horror movies of the lesser kind, most particularly the "Friday 13th" series. A slight remark, an improbablejustification and then the event is forgotten. What could go wrong They're blissful school kids going away to have fun. The bridge that nearly collapses beneath their car is passed in a similar, hasty fashion. Not even the hammock on the porch ofthe house that swings by it self without any wind draws more than a brief, uncomfortable glance.
As is often the case in horror movies, the actualhorrorstarts off comparatively peacefully. The hints of what is tocomearerather subdued, but not essentially less scary. One memorable scene, for example,where one of the girls is making a drawingofaclockonthe wall; suddenly the swinging pendulum stops, as if this is only happening in her individual time zone, and her hand starts awkwardly to draw of its own concurrence. The result, on a torn, shrunk paper is a rudimentary sketch of a book with face-like features on thecover. As she regards it with a disgusted sort of wonder, thetrapdoor in the floor in front of her rattles on its hinges andsomething is heard diminishing down in the darkness.
"The Evil Dead", like all Sam Raimi films, contains an abundance of energetic, flamboyant camera moves and some very effectual editing. However, there are some who would say that this is nothing but cheap effects anticipated to cover up weaknesses in the story line, which is a bit like saying that any movement in a balletthatisn't necessary for the characters to get from one place to another is to be evaded. Camera moves canhave a splendor of their own, lending essence to people and things and making the screen seem 'less flat'. In "Evil Dead" they also serve to create a feeling of unknowingness and threat, especially combined with peculiar sound effects and a musical score that is often close to complete noise.
The total budget for the film was less than 350.000 American dollars (worldwideboxoffice.com). As a consequence, the make-up and effects don't look like something from