NEKROMANTIK

Rob (Daktari Lorenz) works for Joe’s Streetcleaning Agency, a firm who clear up the mess following an accident.

It’s an ideal job for Rob; he likes to procure pieces of the fresh corpses and take them back to the apartment he shares with girlfriend Betty (Beatrice M). They’re a well-matched couple, it would seem, as both derive their kicks from the various anatomical trophies he keeps in jars of formaldehyde around the place.

One afternoon Rob happens upon an accident moments after it’s occurred. He sees it as too good an opportunity to miss – and steals the newly deceased cadaver.

Which, of course, leads to one of NEKROMANTIK’s most infamous moments when he takes it home: the sex scene enjoyed between Rob, Betty and their new friend. Eyeball-sucking and broom handle-fucking ensue.

Could this scenario get any more fucked up? Of course it could, and that happens when Betty decides to run off with her new lover, the corpse.

This leaves Rob in a mess. He’s taken to moping around his grotty flat, watching dodgy slasher films alone at the local cinema, and being very kind indeed to his pet cat around bathtime. But all of that is mere child’s play compared to what his depressive state will ultimately compel him to do …

I first encountered Jorg Buttgereit’s 1988 feature debut in, I think, 1990. I’d read about it the late Chas Balun’s "Deep Red Horror Handbook". That review made mention of the film’s more aberrant moments, as well as advising me – and any other UK-based readers – to dismiss the idea of ever being able to watch it. Fortunately I knew the unscrupulous owner of an ex-rental video market stall who very quickly got his hands on a bootleg VHS copy of the film for me. £10.00. In an age of endless crappy sequels, apologetic comedy-horror hybrids and genre-lite Charles Band productions, NEKROMANTIK was precisely what I – an ardent horror fan and collector of video nasties at the time – had been looking for: the return of the ‘dangerous’ horror film.

NEKROMANTIK had a sobriety about it that, along with its ragged Super 8mm look, made it feel grubby. The downbeat ambience – despite a thick stream of mordant humour evident throughout – was disturbing in a way no other film of its era had the bollocks to be (well, maybe LUCKER THE NECROPHAGUS). And, of course, it was peppered with scenes of jaw-dropping perversity. The opening car crash aftermath promised gore, of which much more followed as the film progressed; that aforementioned love scene was something I could barely believe upon first viewing; the footage of the farmer skinning a live rabbit (and then the action being repeated in reverse) was alarming to say the least. And it all built up to a finale that truly knocked me for six. Yes indeed, this was "hardcore" horror.

On top of all that though, here was a film that delightfully strived to be something more. As grotesque and tuned in to its exploitation audience’s needs as NEKROMANTIK was, it also aspired for artistic worth. It achieved this through some unexpectedly accomplished compositions, considered musings on life, death and the phobias related to the fulfilment of both, and a stirringly beautiful electronic score that gave even the ugliest sequences and intangible air of grace. Buttgereit emerged as someone who favoured questions of existence and morality over filming a succession of nubile teens screwing and then having their throats cut.

Of course, the film was never submitted to the BBFC for UK distribution. At the period of history, it would have been rejected outright – everyone knew that. It did play London’s Scala cinema for one night during the second Shock Around The Clock festival, where word of mouth elevated the film to cult classic before many had even seen it.

I only ever saw the film on video, and then later on Barrel Entertainment’s sterling 2-disc DVD. But that was enough for me: the film has travelled with me since and my love for its strange brew of schlocky gore, arthouse allusions and romantic necrophile kinks has never diminished.

Almost a quarter of a century later, and here we are: NEKROMANTIK has been passed uncensored (!) by the BBFC and restored in HD from its original negative. Kudos to Arrow Films Video for bringing the beast to UK Blu-ray and DVD in a dual format release which also includes the original soundtrack as a bonus CD.

We were sent a screener of the blu-ray disc for review purposes.

The film is presented, uncut of course, in its original 1.33:1 aspect ratio and looks superb. NEKROMANTIK comes as a healthily sized MPEG4-AVC file, boasting the film in full 1080p HD. Bearing in mind this is a micro-budgeted film shot in the late 1980s on Super 8mm, it’s never going to be comparable to TRANSFORMERS. It’s gritty, grainy, washed-out in places, and very scuzzy looking – just as it should be.

But it’s also never looked so vibrant. Colours are alive where they were once drab (the interiors of the flat; the bathroom scene; the blood etc), detail in close-up scenes is terrific, darker scenes are clearer than ever before. A natural filmic feel is prevalent throughout, while the negative has been kept in surprisingly good shape. A first-class presentation.

Likewise, the German 2.0 audio track is clean, clear and consistent throughout. Optional English subtitles are well-written and easily readable at all times.

Newcomers are given a fair taste of what to expect when the disc loads up to an animated main menu, playing out the bizarre ménage-a-trois between the lead couple and their corpse in slow-motion. Arty and grotesque in equal measures.

From there , a pop-up scene selection menu allows access to NEKROMANTIK via 12 chapters.

Extras begin with an optional 1-minute on-screen introduction from Buttgereit, who has started to resemble a blonde David Cronenberg as he hits middle-age.

Then there’s an audio commentary on the main feature from Buttgereit and co-writer Franz Rodenkirchen. If you heard Buttgereit comment on his films previously, you’ll know what to expect: a well-spoken, intelligent and fluent track which delivers plenty of intricate detail while allowing the odd moment of self-effacing humour to seep through.

We’re also treated to the "Grindhouse" version of the film. This is a totally non-restored version of a 35mm blow-up which was screened theatrically. At first, it may seem odd to include a scratchy, overly dark and damage-heavy version of the film as an extra – but fans of old will feel warmth from its familiarity. I for one am elated to have it included here.

HOT LOVE is Buttgereit's much-sought-after early film. It predates NEKROMANTIK but is very similar in look and feel (even down to its very familiar score), so makes for a perfect companion piece. At 29 minutes in length it also moves along at a cracking pace, telling the tale of bizarre love triangle which sees Lorenz losing his lover to muscular young Buttgereit. The former’s revenge on the latter is imaginative, amusing and – obviously – gory.

Buttgereit also provides an entertaining, most welcome commentary track on HOT LOVE (which is also presented in HD), and the film even comes with its own short featurette – "Das Letzte" – revealing footage from its premiere.

HORROR HEAVEN is another short from Buttgereit – 23 minutes – which celebrates his love of early monster movies. It comes with additional outtakes footage as extras.

After initially saying they weren’t going to furnish their release with any newly produced extras, Arrow clearly thought the better of that once they’d realised the interest this title generated. And so we also get …

A 2014 audience Q&A with the filmmaker, in English, is moderated by Calum Waddell and runs for an enjoyable 45 minutes.

Arrow man Ewan Cant’s interview with Buttgereit ("Interview with the Death King") inevitably treads some of the same ground already covered, but is a fun 22 minutes anyway – looking at how the film was received critically, the initial controversy it caused, and so on.

"Morbid Fascination: Nekromantik's Legacy", another new documentary, this time lasting 39 minutes. This finds the likes of Alan Jones, David Flint, Marc Morris and David Kerekes speaking about the impact the film at the time of its release, looking back at its startling cinema screening at the Scala, and so on. It makes for an excellent trip down nostalgia lane.

"The Making Of Nekromantik" is an archive 30-minute documentary that fans have no doubt already seen and enjoyed on previous Special Edition releases. It remains great in terms of behind-the-scenes footage (newly mastered in HD) and further commentary from the director.

Want an archive interview with Buttgereit and producer Manfred Jelinski, originally shot to commemorate the film’s 10th anniversary? Oh, okay, Arrow have unearthed that for you too, along with a brief featurette offering footage from the film’s Berlin premiere way back in January 1988.

Trailers for all 4 Buttgereit horror features are present: NEKROMANTIK, NEKROMANTIK 2, DER TODESKING and SCHRAMM. We also get two music videos shot by the filmmaker, for the bands Shock Therapy and Half Girl.

A huge, nicely produced stills gallery comes as a nice addition, including not only a plethora of iconic artwork and on-set photos, but a reproduction of the rare comic adaptation of the film too. Very nice!

Wow. All of that, on the blu-ray disc alone. In addition to all of the above, the DVD contains everything already mentioned apart from the Grindhouse version of the film. Oh, and then there’s that 27-track CD of the original soundtrack plus bonus tracks too (the HOT LOVE soundtrack – woohoo!).

But that’s not all. This set also comes with gorgeous new packaging and a whopping 100-page booklet which is a product of beauty in itself. Along with some pleasingly grim photographs throughout, the book boasts writings by Graham Rae, David Kerekes, Kier-La Janisse, Linnie Blake and even an archive interview with genuine necrophile Karen Greenlee.

Arrow Films Video have released the ultimate edition of NEKROMANTIK. In terms of presentation, it’s perfect. In terms of content, it’s perfect. Okay, a slight grumble on my part is that I’d prefer the original iconic artwork to the new (perfectly good) artwork used … but, in the face of what’s being tendered here, that’s me being petty.

Buy or die. Or do both, and let your lover fuck you afterwards.

Review by Stuart Willis