By Philip Nutman
Splatter Cinema Presents CITY OF THE LIVING DEAD (Paura nella città dei morti viventi) (aka THE GATES OF HELL) (1980); Dir: Lucio Fulci; Screenplay by Fulci and Dardano Sacchetti; Starring: Christopher George, Catriona MacColl; Tues. Aug. 9; 9:30 PM; Plaza Theatre; Trailer here.
Regurgitated guts. A drill bit to the head. A pick axe in the eye…
Welcome to Lucio Fulci’s CITY OF THE LIVING DEAD, one of the most memorable – and shocking – “gore” films of the 1980s, presented in all its uncut, gruesome glory this Tuesday night at The Plaza Theatre, brought to you by those celluloid-lovin’ maniacs known to Atlanta residents as Splatter Cinema.
For this month’s gut-wrenching, retro bloodbath, it’s spaghetti splatter with lots of weirdness on top. The late Italian director has been variously reviled by film fans as either one of the worst movie-makers of all time (he’s definitely not) or hailed a horror visionary and unique director. Honestly, there was no one quite like Lucio, but he would never have won an Oscar or its Italian equivalent. A distinctive director, yes; talentless, exploitive hack, NO!
For ATL Retro readers who only know his name in regards to his pasta horror flicks of the late ‘70s through the mid-‘90s (Fulci died of a heart attack in 1996), it should be noted that he made dozens of films over a 30-plus year career, which spanned comedies, costume dramas, spaghetti westerns, giallo thrillers and many more. Like acclaimed director Roman Polanski, who started out making absurdist dramas, weird thrillers (KNIFE IN THE WATER ), became known as a “horror” director because of REPULSION (1965), THE FEARLESS VAMPIRE KILLERS (1967) and ROSEMARY’S BABY (1968) before making one of the greatest movies of all time, the retro noir CHINATOWN (1974), Fulci escapes classification; he is sui generis.
But splatter and zombies, and madness and more zombies and splatter (and the disgusting THE NEW YORK RIPPER ) are what have seemingly become Fulci’s legacy. That said, he made two of my favorite Italian movies, the sprawling, hysterical historical costume drama, BEATRICE CENCI ) and the insane psycho-thriller, DON’T TORTURE A DUCKLING .
The story, with a vague nod to H.P. Lovecraft, starts in the small New England town of Dunwich, where a priest commits suicide by hanging himself in the church cemetery which somehow opens the gates of hell, allowing the dead to rise. Peter (Christopher George), a New York City reporter, teams up with a young psychic, Mary (Catriona MacColl), to travel to the town where they team up with another couple, psychiatrist Jerry and patient Sandra, to find a way to close the gates before All Saints Day or the dead all over the world will rise up and kill the living.
CITY OF THE LIVING DEAD was Fulci’s second foray into “undead” territory after 1979’s ZOMBI 2, a quick cash-in on the success of Romero’s DAWN OF THE DEAD (1978). The first of his unofficial “undead” trilogy (CITY was followed by THE BEYOND and THE HOUSE BY THE CEMETERY in 1981), this is one of the director’s best horror films. According to the fine folks at The Plaza, the print also is one of the most complete, good quality prints you’ll see on the big screen at this time – uncut, with all the infamous scenes intact. A must-see for all lovers of ‘80s horror and spaghetti splatter, and a primer for would-be filmmakers, CITY is loaded with atmosphere, shocking moments and typical Italian weirdness which unfolds like a fever dream. In other words, park your left, logical brain hemisphere at the door and just go with the demented flow…You have been warned!