H.P. Lovecraft’s 1925 short story The Unnamable, about something too horrible to be named that dwells in an ancient and abandoned house, provides a basis for this 1988 low-budget horror film.
The original story is very short. You can read it in about 5 minutes online at: http://www.hplovecraft.com/writings/texts/fiction/u.aspx.
So brief a story naturally needs some filling out to become a feature-length movie. In this case, I’m sorry to say they took the unimaginative route of making another standard-template slasher movie–which came thick and fast throughout the ’80s following the success of Halloween and Friday the 13th; I watched more of them in those days than I can remember now. But it does have one really good feature that shows some creativity.
We start off well enough, with an historical flashback. Going by the costumes and later dialog (as well as the dates given in the original story), it’s the 17th century. An old man has locked some unseen creature that breathes with a loud, purring noise like a lion into a room in his attic. The heavy door features a huge padlock and chains, and a small perforated peephole (recalling the red door from The Shuttered Room).
While he’s downstairs in his study–or perhaps a laboratory given the jars of colored liquid and powders–attempting to read from his collection of quaint and curious volumes of forgotten lore, the thing in that room continues to thump on the door and make howling noises.
Finally, he goes upstairs to speak to it, addressing it as a “denizen of Hell” and promising that someday he will find the means to enable it to walk in the daylight. Then he unwisely unlocks and opens the door, and gets his heart torn out of his chest.
The next day, a group of men including a clergyman of unspecified denomination gather the mutilated body up into a sheet. They call the old man a wizard, and the clergyman places some kind of religious invocation on the house, declaring that the evil within it will never be able to pass its walls. The men carry the wrapped-up body out to the adjacent cemetery, quickly lower it down inside an above-ground tomb that’s ready and waiting, and place the stone slab over the top. After the others scurry away, the clergyman remains to complete a short funeral service; he glances repeatedly and nervously up at the attic window of the house behind him, then hastens away as well.
From there, we jump to the same churchyard about 300 years later–that is, modern times. This is the part of the film that sticks most closely to Lovecraft’s story, except there are three young men sitting against the tombstones instead of two.
In addition to our Lovecraft stand-in, Randolph Carter, and his friend Joel Manton, the third boy is named Howard. They’re all students at good old Miskatonic U, the campus of which is just a short walk away.