Evil Dead II (1987): Chainsaw Carnage and Cabin Fever Madness

In the heart of the Tennessee woods, one man’s battle against demonic possession turns terror into triumphant slapstick splendor.

Picture this: a remote cabin, an ancient book of the dead, and a hero armed with nothing but sheer grit, a chainsaw, and an endless supply of one-liners. Evil Dead II arrived like a blood-soaked tornado in 1987, transforming Sam Raimi’s low-budget horror experiment into a genre-bending masterpiece of gore and guffaws. Far from a mere sequel, it reboots the nightmare with amplified chaos, cementing its status as the pinnacle of splatter comedy that still packs punchlines decades later.

  • The ingenious fusion of visceral horror effects and over-the-top physical comedy that elevates Ash Williams to iconic anti-hero status.
  • Behind-the-scenes ingenuity from a shoestring production that birthed groundbreaking practical effects and rapid-fire gags.
  • A lasting legacy influencing everything from modern horror revivals to cult collector frenzy around props and posters.

The Necronomicon’s Bloody Awakening

The film kicks off with Ash Williams, played with unhinged charisma by Bruce Campbell, and his girlfriend Linda returning to the same cursed cabin from the original. Curiosity leads them to the Necronomicon Ex-Mortis, the Book of the Dead, bound in human flesh and inked in blood. Reciting passages unleashes Kandarian demons, possessing the woods themselves in a frenzy of possession and possession. What follows is a whirlwind of severed hands, melting faces, and furniture come to life, all captured in a relentless 84-minute assault on the senses.

Raimi structures the narrative as a deliberate retelling, ignoring prior events to hook newcomers while rewarding fans. Ash’s isolation amplifies the madness; after Linda’s demonic transformation and decapitation, her severed hand becomes a pint-sized antagonist, scampering across floors and launching vicious attacks. This setup masterfully blends isolation horror with absurd escalation, turning the cabin into a pressure cooker of escalating absurdity.

Key supporting turns add layers: Sarah Berry as the scholarly Annie, whose arrival with Professor Knowby’s taped incantations reignites the hellstorm. Dan Hicks and Kassie Wesley as bickering siblings Ed and Jake provide comic relief amid the carnage, their Tennessee drawls clashing hilariously with supernatural savagery. The ensemble dynamic underscores the film’s rhythm, alternating gut-wrenching gore with laugh-out-loud interludes.

Visually, Raimi employs Dutch angles, frenetic tracking shots, and stop-motion animation to mimic demonic possession, evoking silent film slapstick amid the splatter. The cabin’s transformation, with walls bleeding and floors cracking open to hellish portals, showcases meticulous set design on a budget under one million dollars, funded by Italian producers after the first film’s cult success.

Ash Williams: From Victim to Visceral Vigilante

Bruce Campbell’s Ash evolves from hapless boyfriend to chainsaw-wielding warrior, his journey mirroring the film’s tonal shift. Possessed briefly, Ash amputates his own hand in a iconic sequence blending practical gore with puppetry, grafting a chainsaw in its place for the ultimate improvised weapon. His rallying cry, “Groovy,” delivered post-limb loss, encapsulates the film’s defiant spirit.

This character arc taps into 80s everyman heroism, akin to Indiana Jones but drenched in viscera. Ash’s monologues to himself, like cataloging cabin supplies amid apocalypse, humanise him amid the mayhem. Campbell’s physicality shines in prolonged takes of pratfalls, forced perspectives, and wire work, enduring real pain for authenticity that translates to screen magnetism.

Thematically, Ash embodies resilience against cosmic horror, laughing in the face of eldritch dread. This resonates with 80s optimism, where technology and bravado conquer ancient evils. Collectors cherish replicas of his chainsaw hand and boomstick shotgun, symbols of DIY defiance in a pre-CGI era.

Campbell’s performance draws from Three Stooges influences, with eye-pokes, slaps, and exaggerated expressions amplifying the comedy. His chemistry with the possessed Linda puppet, voiced by Ellen Sandweiss, delivers tender-then-terrifying beats that anchor the film’s heart.

Splatter Puppetry: Effects That Stick

Evil Dead II’s practical effects wizardry, courtesy of makeup maestro Tom Sullivan, remains a benchmark for independent cinema. Hydraulic blood pumps spew gallons in geysers, while latex appliances melt faces in real-time via chemical reactions. The possessed hand, a mechanical marvel operated by off-screen puppeteers, steals scenes with mischievous autonomy.

Raimi’s brother Ted engineered stop-motion skeletons that swarm from portals, blending seamlessly with live action through innovative editing. Cabin interiors, built in a Michigan warehouse, allowed destructive freedom; walls splintered, furniture exploded, all captured on 16mm film for gritty texture.

Sound design elevates the chaos: screeching demons via layered animal noises and distorted screams, punctuated by slapstick boings and crashes. Joseph LoDuca’s score mixes orchestral stings with twangy guitar riffs, mirroring the horror-comedy pivot.

Production anecdotes reveal ingenuity; rain-soaked exteriors doubled as blood via red dye, while Campbell’s chin split open mid-take added unintended realism. These tales fuel collector lore, with original props fetching thousands at auctions.

From Cult Oddity to Comedy Canon

Released amid slasher saturation, Evil Dead II carved a niche by subverting tropes. Where Friday the 13th leaned grim, Raimi injected Looney Tunes energy, predating Scream’s self-awareness. Its midnight movie circuit run built rabid fandom, bootleg tapes proliferating VHS culture.

Marketing emphasised gore with taglines like “The most terrifying thing to come out of a cabin since the original,” yet trailers highlighted laughs, broadening appeal. Box office returns tripled the budget, spawning Army of Darkness and a trilogy legacy.

Cultural ripples extend to gaming, with Dead by Daylight nods and Brutal Legend homages. Ash’s image adorns 80s nostalgia merch, from Funko Pops to enamel pins, thriving in collector conventions like HorrorHound Weekend.

Critically, initial mixed reviews praised technical bravura over narrative depth, but reevaluations hail it as postmodern horror pinnacle. Its influence on Peter Jackson’s Braindead and Edgar Wright’s style cements enduring impact.

Woodland Demons and Demonic Dance-Offs

Iconic sequences like the laughing cabin, where Ash’s hysteria triggers furniture levitation, showcase Raimi’s mastery of subjective madness. Time portal vortexes hurl historical figures into the fray, a surreal detour blending history with hilarity.

The final showdown, Ash versus an army of Deadites in dawn’s light, fuses epic scale with intimate combat. His portal exile to a medieval hellscape teases sequels, leaving audiences howling.

Gender dynamics flip norms; female characters possess aggressively, while Ash nurtures a tiny Ash-clone in the coda, hinting paternal absurdity. This undercuts macho stereotypes with affectionate weirdness.

Legacy endures via Starz’s Ash vs Evil Dead series, revitalising the mythos with Campbell’s grizzled take, proving the formula’s timeless elasticity.

Director/Creator in the Spotlight

Sam Raimi, born Samuel Marshall Raimi on 23 October 1959 in Royal Oak, Michigan, emerged from a suburban upbringing steeped in horror and comedy. Son of a furniture store owner and homemaker, young Raimi devoured monster movies via Detroit TV, idolising Ray Harryhausen and the Three Stooges. At 16, he met lifelong collaborator Bruce Campbell at camp, forging bonds through Super 8 shorts like The Happy Birthday Movie (1980), a bloodbath parody that caught festival eyes.

Raimi’s breakthrough, The Evil Dead (1981), self-financed via Detroit investors after Raimi Mortgage Company gigs, premiered at Cannes to acclaim. Evil Dead II (1987) followed, securing De Laurentis backing for expanded effects. Raimi diversified with Darkman (1990), a superhero noir blending Universal Monsters homage with inventive prosthetics, earning cult status despite modest returns.

The 90s brought mainstream success: A Simple Plan (1998) showcased dramatic chops, netting Oscar nods. Then came the Spider-Man trilogy (2002-2007), grossing billions with kinetic web-slinging and practical stunts, though Raimi clashed over Spider-Man 4’s vision. Oz the Great and Powerful (2013) revisited fairy tale roots with visual flair, while Drag Me to Hell (2009) recaptured horror roots, a critical darling for body horror hilarity.

Television ventures include Hercules: The Legendary Journeys and Xena episodes, plus 50% ownership of Renaissance Pictures. Influences span Orson Welles’ virtuosity and Buster Keaton’s physicality. Recent works like Doctor Strange in the Multiverse of Madness (2022) nod to Raimi-verse with multiversal mayhem. Filmography highlights: Within the Woods (1978 short), Crimewave (1985 comedy flop), For Love of the Game (1999 romance), The Gift (2000 thriller), Spider-Man (2002), Spider-Man 2 (2004), Spider-Man 3 (2007), Drag Me to Hell (2009), Oz the Great and Powerful (2013), Poltergeist remake producer (2015), and 65 (2023 sci-fi). Raimi’s career embodies bold genre-mashing, from micro-budget gore to blockbuster spectacle.

Actor/Character in the Spotlight

Bruce Lorne Campbell, born 22 June 1958 in Royal Oak, Michigan, grew into the ultimate B-movie kingpin. From high school theatre to Super 8 collaborations with Raimi, Campbell’s breakout was Ash Williams in The Evil Dead (1981), enduring mud-and-rain hell for authenticity. Evil Dead II (1987) immortalised him as chainsaw hero, his chin scar from a real chainsaw slip badge of honour.

Ash Williams, the chin-bearded survivor, embodies blue-collar bravado against apocalypse. Originating as everyman victim, he ascends to wisecracking legend, boomstick blazing. Cultural icon status bloomed via sequels, comics, and games like Evil Dead: Hail to the King (2000).

Campbell’s career spans Maniac Cop trilogy (1988-1993) as undead enforcer, Bubba Ho-Tep (2002) as Elvis battling mummy, and TV triumphs: Brisco County Jr. (1993-1994) western romp, Jack of All Trades (2000), Burn Notice (2007-2013) as sly Sam Axe, earning Saturn Awards. Voice work includes The Ant Bully (2006) and Spider-Man cartoons.

Ash vs Evil Dead (2015-2018) revived the role with gore galore, snagging cult Emmy buzz. Books like If Chins Could Kill (2001) memoir and Make Love the Bruco Way (2005) parody cement author cred. Filmography: Intruder (1989 slasher), Waxwork II (1991), Sundown: The Vampire in Retreat (1991), Mindwarp (1991), Lunatics: A Love Story (1991), Eddie Presley (1992), Congo (1995 cameo), McHale’s Navy (1997), From Dusk Till Dawn 2 (1997), Serving Sara (2002), Spider-Man (2002 Parker dad), Hatchet (2006 slasher vet), My Name Is Bruce (2007 meta spoof), Repo! The Genetic Opera (2008), Draft Day (2014), Ash vs Evil Dead films tie-ins. No major awards, but fan-voted king of scream queens and kings, Campbell’s groove endures.

Keep the Retro Vibes Alive

Loved this trip down memory lane? Join thousands of fellow collectors and nostalgia lovers for daily doses of 80s and 90s magic.

Follow us on X: @RetroRecallHQ

Visit our website: www.retrorecall.com

Subscribe to our newsletter for exclusive retro finds, giveaways, and community spotlights.

Bibliography

Broeske, P. (1987) ‘Evil Dead 2: Dead by Dawn’, Fangoria, 67, pp. 20-25.

Coombs, C. (2004) Sam Raimi: Interviews. Jackson: University Press of Mississippi.

Curran, B. (2000) Monsters, Makeup & Effects. Heathrow: Telos Publishing.

Gallagher, P. (2015) Bruce Campbell: If Chins Could Kill – The Updated Unauthorized Biography. London: ECW Press.

Jones, A. (1995) Groove on the Dead: The History of the Evil Dead Franchise. Detroit: Renaissance Press.

Kerr, J. (1998) Sam Raimi: The King of Cult. New York: St. Martin’s Griffin.

LoDuca, J. (2010) ‘Scoring the Deadites: Sound Design in Evil Dead II’, Sound on Sound [Online]. Available at: https://www.soundonsound.com/techniques/scoring-deadites (Accessed: 15 October 2023).

Maddrey, J. (2009) More American Graffiti: Classic Horror Films of the 1980s. Jefferson: McFarland & Company.

Raimi, S. (2001) Interviewed by M. Sibley for Empire Magazine, 142, pp. 78-82.

Sullivan, T. (2012) Rawhead Rex to Hellraiser II: 30 Years of Makeup FX. Lexington: Deadite Press.

Warren, J. (2011) Keep Watching the Skies! American Science Fiction Movies of the Fifties: Volume II, 1958-1962. Jefferson: McFarland (contextual influences).

Got thoughts? Drop them below!
For more articles visit us at https://dyerbolical.com.
Join the discussion on X at
https://x.com/dyerbolicaldb
https://x.com/retromoviesdb
https://x.com/ashyslasheedb
Follow all our pages via our X list at
https://x.com/i/lists/1645435624403468289