Paura nella città dei morti viventi (1980)

... aka: City of the Living Dead
... aka: Ein Zombie hing am Glockenseil (Zombie Hung on a Bell Rope)
... aka: Fear in the City of the Living Dead
... aka: Frayeurs (Fears)
... aka: Gates of Hell, The
... aka: Pater Thomas (Father Thomas)
... aka: Zombiernes by (Zombie City)

Directed by:
Lucio Fulci

In a small New England town, priest Father William Thomas (Fabrizio Jovine) hangs himself in a cemetery. Meanwhile, in New York City, psychic Mary Woodhouse (Catriona MacColl) and some of her colleagues are having a séance. Mary has visions of the suicide and of a zombie rising from the grave, freaks out, breaks the link and keels over onto the floor dead. When police show up at the scene, they're told she was scared to death. Not buying into the story, wisecracking journalist Peter Bell (Christopher George) decides to look into matters. He goes to the cemetery, rescues Mary from being buried alive when she miraculously springs back to life and then accompanies her to a friend's apartment to learn all about a prophecy contained in the Book of Enoch, a religious text written over 4000 years ago. According to the book, the gates of hell will open somewhere in a small town and mankind will be wiped out because no dead body will ever be able to rest in peace again. The only remedy to the situation is closing the gates before All Saint's Day.

Back in Dunwich, strange things are afoot. Winds are atypically strong, the town is enveloped in a cloud of “dust” (fog), windows and mirrors shatter on their own, walls crack open and sometimes bleed and cute little kittens attack their owners. Even worse, the dead priest has returned from the grave and now has supernatural powers that he doesn't hesitate using against the townsfolk, who are rumored to be descendants of “Salem witch burners.” He starts out by force feeding pretty young Emily (Antonella Interlenghi) a mouthful of worms and muck. During the film's most memorably gross bit, he appears before a pair of necking teens and squeezes the brains right out of the guy's head after making his girl puke up all of her internal organs. Others disappear or start turning up dead and the recently deceased return to life and add to the army of the undead. At a mortuary, an old lady kills a thieving mortician. Emily returns as a pizza-faced zombie to haunt her parents and kid brother. And so on and so on.

Since Mary saw “Dunwich” written on a tombstone in one of her visions, she knows just where to go. Peter, despite his skepticism, decides to tag along. I'd like to say the two are in a big hurry to get there considering a zombie apocalypse and the fate of all mankind life is at stake. But nope. With just 48 hours to find the town (which isn't even on a map), the two decide to flirt, act casual about the whole ordeal and even take a detour to sample some fine regional cuisine. Getting directions from another priest in a nearby town, the two finally make it to their destination, but not until many have died and everything's pretty much gone to (literal) hell. Our heroes eventually team up with town shrink Gerry (Carlo De Mejo) and one of his patients, neurotic painter Sandra (Janet Agren), in an effort to close the gates. The four get showered with maggots at one point and the big finale takes place in an underground tomb and some catacombs.

This is one of the key titles on Fulci's filmography that helped turn him into a cult director during the early days of home video. Like most of the director's other works, it drags at times (particularly around the midway point), some scenes work better than others and there are about 1001 zoom shots into eyeballs, but it's also atmospheric, gloomy and gory. Nicely shot by Sergio Salvati (who shot all of the director's films around this time), this also boasts an excellent score from Fabio Frizzi and a more straightforward and less confusing story line (co-written by Dardano Sacchetti) than some of Fulci's other efforts.

Italian horror / exploitation fans should recognize much of this cast. Aside from those already mentioned, small roles are also played by future director Michele Soavi, Fulci regular Daniela Doria (who almost always gets the best death scene in these things), Venantino Venantini, Luciano Rossi, Robert Sampson and Fulci himself as a pathologist. Giovanni Lombardo Radice (aka “John Morghen”) has a memorable bit as the slow-witted town outcast whose girlfriend is an inflatable doll and who may or not be a sex predator. He also meets a memorable demise when the father of one of his supposed victims pushes a huge electric drill through his head (an excellent effect). American porn actor Michael Gaunt also turns up playing a gravedigger in one scene alongside Percy Pirkanen of Cannibal Holocaust fame.

Here in America, this was picked up by Motion Picture Marketing, who wanted to release it as Twilight of the Dead with ad art copying Romero's DAWN OF THE DEAD (1978) until they were served a cease and desist order. It was then re-titled The Gates of Hell, great new posters were made and it played theaters unrated and uncut in 1983. On home video, it was issued the following year by Paragon, also unrated and under the same title. Later VHS, DVD and BR releases (from Anchor Bay, Arrow, Blue Underground, etc.) used the City of the Living Dead title. The full running time of the uncut version is 93 minutes, though some countries (like Australia) received a shorter cut missing some of the gore.

★★1/2

Quella villa accanto al cimitero (1981)

... aka: Freudstein
... aka: House by the Cemetery, The
... aka: House Outside the Cemetery, The
... aka: Zombie Hell House

Directed by:
Lucio Fulci

New York City professor Norman Boyle (Paolo Malco) is assigned to take over where deceased colleague Dr. Petersen left off in his research. Dr. Petersen had been living at a secluded country estate near Boston called Oak Mansion and supposedly went crazy, slaughtered his mistress and then hung himself from a railing at a local library. Norman, his neurotic wife Lucy ("Katherine" / Catriona MacColl) and their "cute" (a-hem!) little mop top blonde son Bob (Giovanni Frezza) pack up and head off toward Oak Manor for a 6-month stay. Bob has been seeing visions of a ghostly little girl in a painting, who warns him and his family not to come to the home. The little girl, Mae (Silvia Collatina), materializes again once the family arrives in New Whitby to warn Bob. Naturally, Bob's parents don't believe he's seeing or hearing anything and chalk it all up to him having an imaginary friend. Real estate agent Laura Gittleson (Dagmar Lassander) takes the family out to their new home; a large Victorian place with a crumbling old cemetery right in the front yard and lots of even stranger things inside. You know, like a tomb in the hallway hidden under a rug.

The Boyle family start settling in and immediately bizarre and unexplanable things begin happening. Moaning and crying can be heard throughout the home, the floorboards creak, the doors rattle, little Bob keeps having encounters with the ghost girl, the ominous cellar is strangely boarded up and a suspicious-acting live-in babysitter named Ann (Ania Pieroni) shows up claiming to have been sent over by Laura to help Lucy out. Norman finally finds a key to the cellar and goes down to take a look, only to get attacked by a rabid bat which attaches itself to his hand and has to be hacked off with a knife. It's all enough to have Lucy demand that they leave and find a new place. Before that can happen, the real estate agent stops by and gets gored to death with a fire poker and dragged down into the cellar. Ann, who cleans up the bloody floors after the crime (uh, why?) is up next. When she goes down into the cellar she gets decapitated. And then it's the family's turn.

The killer turns out to be the home's former owner; turn-of-the-century surgeon Dr. Jacob Freudstein (Giovanni De Nava), who had a penchant for "illegal experiments" back in the day. He's somehow managed to stay alive all this time killing and cannibalizing people. We're informed he needs to renew his blood cells every so often. Freudstein may technically be alive, but he sure doesn't look it. He's actually more zombie-like than anything else and has a brown, distorted, melted-looking face. When he's stabbed, he bleeds maggots and worms. While the film does explain (rather sloppily) what Freudstein is and how's been able to keep on ticking, it does not bother explaining how he seems to be in possession of supernatural powers, such as being able to close and lock the cellar door without being anywhere near it. The ghost girl haunting the place isn't doing it either since her whole point in the film is trying to save the family.

I also didn't get why the cellar was always dry when the family went downstairs but at the very end it suddenly looked like a slaughterhouse with blood spatter, body parts and corpses all over the place. There are many other things that just don't make a lick of sense. When Norman finds an audio tape recorded by his colleague that explains what happened to him, he throws it into a fireplace immediately after listening to it (?) A pair of yellow eyes peering down in the cellar clearly don't belong to the killer since he doesn't have any eyes, so who did they belong to? What the hell is up with Ann, why does she clean up blood from one of the murders (she's not in cohorts with the killer) and why does Lucy see her cleaning up the blood and not do or say nothing about it? And those are just the tip of the iceburg as far as senseless character actions and sloppy, glaring plot holes go.

Though far from a great film, this still beats the hell out of THE AMITYVILLE HORROR (1979). It's overdone as only Fulci can overdo it. I mean, why slit someone's throat once when you can do it three times? And why shoot one close-up of a pair of eyeballs when you can do it 50 times? There's also an impalement (make that three impalements), several decapitations, a knife through the head, a ripped out throat and other gruesome FX stuff to keep it humming along nicely for spaghetti splatter fans, though one must have a tolerance for some slopping editing, nonsensical plotting and bad dubbing. Especially grating is the dub on the little boy... yikes! It's actually less gory than many of Fulci's other 80s films. Sergio Salvati does a decent enough job shooting it and I loved the music score by Walter Rizzati. It ends with a quote attributed to Henry James, but was actually written by the director.

The cast also includes Daniela Doria (who provides the sole grimpse of nudity before getting a knife driven through her head in the opening sequence), Carlo De Mejo and Fulci himself as Norman's boss. It was filmed in Massachusetts under the title Freudstein.

★★1/2