The following is a rough translation of an essay by Stefan Pethke of the Kunst der Vermittlung project. I used Babelfish and Google Translation to stitch together the most coherent translation I could manage; by no means perfect but hopefully you’ll get the idea:
How beautifully the doors fly open, naturally by a spirit hand, when Lee in the opening sequence of this work paraphrases exactly a passage of Evil Dead II, with which it then really enters into the film: a rapid camera movement from an American single family house to the outside. Here upturned: underlaid with the scary sound of the original track we leave sunny New Yorker streets, in time lapse over stairway, dark passage and several rooms on a television zuzustürzen, in which the referenced scene runs. So it could go ever further.
In the television room a young woman lies on the bed, cheaply on dead made up (Cinephilie meuchelt Libido? …). Two sheets of paper lie beside her. In the YouTube dissolution is not to be deciphered, which could stand on them written.
Road – house – room – televisions – the journey goes into an inside. The rerecording into the discussed film is appropriate for arisen door on one rabiat: instead of the screen from glass wood splinters. We penetrate into the film. Interpretation as violent act.
Only after this prologue Lee in the offscreen seizes the word. Its economical comment concentrates on the relationship between comedy and anxiety in EVIL DEAD II; appropriate pairs of opposites pulls through Lees discourse: funny/scary, more laughter/terror, Texas Chainsaw Massacre/Tex Avery, Daffy Duck/Jack Nicholson (in Shining).
Lee concentrates also on the main figure. He selected excluding cutouts, which show the actor Bruce Campbell alone. Without expressing it explicitly, Lee formulates so also that it goes in the horror category on most different ways around fights into head and soul, around self-arguments, around disturbances of sensitive internal equilibrium up to the uncontrolled intoxication of the irrational one, to the bad trip.
In addition a remarkable characteristic are Lee’s writing modules. In the telegram style it supplies with their assistance detailed information to special effects. Knowing how it’s made can drive the fright out. The favorite child of numerous DVD bonus distances so in addition, rightfully zurechtgestutzt on footnote dimension.
In Evil DEAD II leads the main figure Ash a war of extermination against his own hand. This war is also then not yet past, when Ash separates by means of chainsaw from the hand. It lives its own life even without a host body, but at the moment of amputation may be the triumph of Ash howling not resist: “Who’s laughing now?” It pushes several times out. The question is wrongly posed, it should be: Why? Lee alludes, by reminding us of the abrupt end of his short essay of the uneasiness, which is inherent in our laughter.