The Other Side of the Door
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The Other Side of the Door

There is one factor that permeates humanity, shared from the larger civilization down to the most humble tribes; what happens after death. This question has been addressed by every religion, mythology and folklore mankind has ever embraced. It is also been a perennial favorite among those writers who choose to focus on horror as their genre reference. Some of the most frequently used euphemisms for the line between the living and the dead are ‘beyond the veil’ or ‘on the other side ‘. The latest opus by the nascent horror filmmaker, Johannes Roberts,’ is ‘The Other Side of the Door’, written and directed by him and co-authored with frequent collaborator, Ernest Riera. Currently they are in the Masters of farm team there is plenty of potential here them to move up to the major leagues. This is that this point in time they need to be able to hone their crafts and develop their own unique narrative voice. This is a familiar story of a mother’s love for a recently deceased son. This is a driving team that is extremely commonly used that is only because it is one of the most universally understood bonds to people can share. As the title so strongly suggests the grieving mother seeks to bypass the period between the living and the dead to regain contact with the lost son. Fundamentally this film is based on a solid idea that regrettably is all too common among the genre. Several of the supporting side themes that are woven throughout the plot also all too frequently found in the majority of thrones of this ilk. This serves to cast the specter of unoriginality over the movie that although there are some veracity to this observation in many ways I feel that it is unwarranted considering some of the circumstances that pertain to this film. While most commonly a film is judged by its initial impact on the audience, this film is an idea example of why some films deserve deeper consideration before jumping to a judgment. This amendment a relatively new in these fields and as such should be considered on a learning curve. I felt as anyone who watches us immediately expert in every endeavor they had in life.

Michael (Jeremy Sisto) and his wife Maria (Sarah Wayne Callies) having romantic vacation in India which coincides with my business which requires visiting the area a number of times each year. Maria notes how idyllic the surroundings on how happy the altogether there amuses how would be so nice if they never had to leave. Michael makes a suggestion that move the center of his business locally so that they can live there full-time. We move on to several years in the future when they are happily married and parents of two children, Oliver (Logan Creran) and his sister younger by a couple of years, Lucy (Sofia Rosinsky). Together they have built a loving home for their family which includes a local housekeeper, Piki (Suchitra Pillai). Considering this is a horror movie and not something from the Lifetime Network it should come as no surprise that Maria’s little piece of paradise is about to be horribly demolished.

One morning, like any other, Maria their home for some errands taking Oliver and Lucy along with her. It was a terrible accident in their car was plunged into the water trapping all three inside. The level of water continues to rise at the rear and the children begin to panic. Always leg is pinned and Lucy cannot extricate herself from the seatbelt. All were screaming for his life, leading to his mother for help and that he scattered in pain. Maria turns to help Lucy become untangled from the seatbelt just as the car filled with water separate couple of inches owning an air pocket on top. All of the desperately tries to remain alive with that limited air but suddenly Maria and Lucy are pulled from the vehicle Oliver goes with it to his death. This is a real ‘Sophie’s Choice ‘moment; a mothers absolutely worst nightmare.

Anyone with even a modicum of humanity will be able to sympathize with the profound effect circumstances around all of them affected Maria. Matter how much Michael tries to reassure her that she couldn’t have done anything more to save your child, Maria still blames herself that placing on the uneven greater unsurmountable great grief. At one time while on the verge of emotional collapse Maria’s approach by Piki tells them about some folklore of the area. There is reported to be a tribe called the Aghori that are extremely sensitive to the barrier between the living and the dead. There’s a certain Temple and remote jungle for this area is particularly thin allowing the living an iota of contact with the deceased loved ones. According to the ritual the grieving party is take the ashes of the loved ones remains and sprinkle them in front of the temple. Then go inside and find a heavy wooden door horribly large plank wood. According to the particulars of the ritual if you spend the night in the Temple near the door at some point you will hear your loved ones will be able to communicate with them for a short time. As all such breaches in the natural order it comes with an extremely serious caveat; it was never under any circumstances opened the door. No matter how much the deceased loved ones plead and begs you must remain strong and refrain from open the door. Failure to do so would breach the barrier to the land of the dead allowing unimaginable evil to pass through.

Maria decides that she has to attempt the ritual the matter how unlikely chance of success might be. Grief is so overwhelming that she knows she cannot go on with life until she can apologize to his son not being able to save him. With the help of Piki to hire some local men to exhume his body from the graveyard and then together they build a funeral pile to cremate his remains. Of course there are a couple of jump scenes at this point such as a highly decomposed hand clutching a toy stuffed tiger that was his favorite. The collect the ashes as required by the ceremony. Maria leaves a note Michael that she has to go away for a while in order to clear her head. If she doesn’t do this you know that you will never be able to get past all Oliver and the tragic circumstances of his death. Maria makes her track to a remote village and permit into the jungle until she arrives at the temple. After spreading the ashes in front of the temple, Maria goes inside to hold vigil before the ponderous wooden door. Eventually she hears she is he is the fragile voice of her son. She manages to say a few things to him but all too soon he state that he has to leave. All thoughts except having her son with her flee from the distraught mother’s mind until bereft of conscious volition to close opened the door calling for her son. During this time doing men grade with the ashes of the dead faces painted in a macabre way are drawn to what is happening as if summoned by whatever lurks behind the protection of the door

Understandably once she gets back home supernatural portion of the film is stalked into existence. Oliver appears to his sister but the reunion turns violent leaving a bite mark on the younger shoulder. Maria goes into the bedroom to confront him Oliver a chair and also a book that she had been reading to him before his death. Such a gentle moment again not last long. Supernatural events quickly become increasingly violent and disturbing. Maria seeks the help of Piki and she is told that she was burned everything that reminds her of Oliver that he brings up memories of him for that is ever owned or touched. Everything that could serve as an anchor for his spirit must be destroyed. Maria has forgotten the most important thing situation such as this; the dead don’t want to go back. Once you call them back to the living is not prone to be conducive to a return trip.

Posted 05/31/2016

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