Lucio Fulci's Gates
of Hell (City of the Living Dead) is a strange concoction of atmosphere
and extremely grotesque violence. Fulci's 80's output featured
probably the most disgusting string of films in horror history
and he may have reached his peek with this assault of bodily fluids.
In
Dunwich, a Father Thomas hangs himself resulting in an opening of the
gates of hell which will reach it's zenith on All Saint's Day, wherein
the dead will walk the earth. Before this menace is stopped we are treated
to some of the most extreme set pieces in Italian horror. Gates of Hell
is practically dripping in blood, bile, and maggots.
Before Fulci barrages
us with revolting scene after revolting scene we are treated to
the infamous performance of Giovanni Radice (you might remember
him as Mike Logan the hilariously sadistic coke addict from Make
Them Die slowly AKA Cannibal Ferox, and in Stagefright), the pot
smoking, blow up doll lovin' "delinquent" who walks around in
a daze when not seeing visions of a rotting baby.
We
quickly jump to a scene of two young lovers in a car (Italian horror
fans will recognize future director Michele Soavi), when the girl envisions
the hung priest her eyes begin to bleed as blood flows from her mouth.
In perhaps Fulci's finest moment as a filmmaker we are witness to the
girl throwing up her entire innards!
To those not familiar
with Mr. Fulci's film let me elaborate a second, SHE THROWS UP
HER ENTIRE INNARDS!! Intestines, kidneys, and a huge bladder come
spewing forth in a wave of revulsion plopping onto her lap!! Other
classic scenes include the horny, bud smokin' loner getting his
head drilled in by a ridiculously huge stationary drill. Fulci
shows every conceivable close up angle of this murder not stopping
until the audience is left wondering "how the hell did they do
that!?!" The reason for this brutal display of violence? A father
finds his daughter hanging out in the garage with Radice's character!!
Multiple
brains being popped out of heads by zombie hands, flying shards of glass
obliterating a human face, and about three tons of maggots highlight
Fulci's exorcise in Gothic imagery. Although celebrated for his elaborately
violent scenes take time to appreciate the bizarre atmosphere Fulci
creates with his cobweb tombs and strangely terrifying zombies. The
awful dialogue and unorthodox camera work give Fulci's films an eerie,
uneasy feeling sometimes forgotten when celebrating the amazing effects.