Exorcism, satanic rituals, threatening signals from hell: This time things are going to be particularly dark in Vienna, Moritz Eisner and Bibi Fellner are standing right in front of the “Gate to Hell”. Nothing for friends of logic, but entertaining spooky fun.
What is happening?
A Catholic priest is found dead in Vienna at the bottom of a staircase. Everything points to a violent death, as evidenced by his multiple injuries, some of which were inflicted long before his death. The man’s name was Manfred Gabler, the traces are initially clear, only a piece of jewelery in the dead man’s hand could bring knowledge, but it is extremely puzzling – it is a medallion with a satanic motif. For Moritz Eisner (Harald Krassnitzer) and Bibi Fellner (Adele Neuhauser), “The Gate to Hell” opens with a crunch.
For the two of them, the case turns out to be a step into a mysterious intermediate world, populated by even more mysterious figures. There is Gabler’s successor, Kaplan Raimund (Lukas Watzl), who now takes care of driving out the demons, a cranky and charming psychiatrist named Sittsam (Sven Eric Bechtolf), a shy scientist (Angela Gregovic) and the dubious Dambusch (Roland Düringer), a chain-smoking ex-lude in fine rib, surrounded by a dozen crucifixes – and “N”, a mysterious personal detail in the dead man’s appointment book.
What is it really about?
Author and director Thomas Roth already has hits like “Falco – Damn, we’re still alive” and the “Trautmann” series under his belt. With “The Gateway to Hell” he adds a lusty horror spectacle to his portfolio, the inspiration for which, William Friedkin’s “The Exorcist” from 1973, left unmistakable traces here. However, Roth does not simply copy, rather he sets some cinematically worth seeing exclamation marks and trustingly leaves Eisner and Fellner to their fate.
Zapp-Moment?
Discreet spoiler alert: Those who survive the frightening opening scene will definitely stay on the ball. As far as the cast is concerned, Roland Düringer should at least cause a frown. The 58-year-old cabaret artist and actor from Vienna took part in both the controversial “Everything on the table” protest and the follow-up campaign “Allesdichtmachen” against the Corona measures.
Wow-Factor?
Consistently high, the atmosphere on the occult side of Vienna is densely knitted, the opaque staff of this horror string between the worlds plays with verve and fun on the subject.
How was it?
8 out of 10 points – A devilish pleasure that – and the viewer – could have even treated itself to a little more horror.