“I escaped from the grave, so I have to give something to the grave in return.”
A pre Star Trek Scott Bakula stars as Harry D’Amour, Clive Barker’s occult gumshoe who’s often up to his neck in dark and dirty deeds, whether he likes it or not. When the glamorous wife of a world-class illusionist asks for his help, D’Amour finds himself pitted against the entertainment establishment, moneyed interests and a conspiracy of silence surrounding the life and death of a mysterious man known only as Nix. D’Amour is forced to conclude that he has landed in the middle of something a lot more sinister than a few artistic types playing adult Illuminati games.
As seems to be common with many such movies, Barker’s sunbleached story of the life, death and rebirth of Nix’s nihilistic cult received mixed reviews upon its release, but has quietly gained a sizeable following over the ensuing decades. Here we have another example of great work largely ignored by the entertainment establishment, only to be supported by a growing and appreciative audience. Politically speaking, films like Lord of Illusions confirm that the democratisation of opinion is alive and well.