City of the Living Dead is part of a high point in Lucio Fulci’s career that would make him synonymous with gore, zombies, and splatter and also cause him to be more generally regarded as a horror director, despite having worked in numerous other film genres. Being the first film in what has become known as The Gates of Hell trilogy, which also includes The Beyond (1981) and House by the Cemetery (1981), City feels a little rough around the edges, a step down from the previous Zombi 2 (1979) but at the same time a stepping stone or prototype to The Beyond, a film that masterfully embodies a dreadful but surreal atmospheric ascetic that I like to call nightmarish horror, which abandons logic to create a sense that anything can happen, usually something bad involving the eyes.
there is an interesting Lovecraftian story (co-written by Fulci and Dardano Sacchetti)
and plenty of dialogue and characters to fill it, City feels a bit like a compendium of gore scenes and set pieces,
most of which exemplify Fulci in top
form. It has its flaws and issues, yet it’s one of those films where you can
talk just as much about what’s wrong with it as you can about what’s right with
it, and what’s right is pleasing enough to supersede what’s wrong.
having a dodgy narrative, a few silly moments, and somewhat shallow characters, who
have grown on me with time, such as Bob (Giovanni
Lombardo Radice), the film is quite a macabre experience that has become known for its top-notch
ambiance and gore FX (by Gino De Rossi),
as well as succeeding as a horror film overall. It’s like a product of low
quality that nonetheless continually hits the sweet spot throughout its runtime
so that you just can’t help loving it. It’s almost the masterpiece The Beyond is.
Thursday, September 25, 2014
Thursday, September 4, 2014
If you haven’t noticed, female vampires in movies have been a long-running theme I’ve enjoyed exploring with this blog. It’s an appealing aspect of fiction to me, and I just can’t get away from the archetypical idea of the vampiress: her gothic image, seductive power, hidden feral side, and deadly sexuality. Some time ago, around the time I reviewed The Blood Spattered Bride, I finally gave Sheridan Le Fanu’s Carmilla a read and wasn’t too surprised at realizing how much Carmilla’s influence is felt in a large number of cult female vampire films. Although, there seems to have been a bit of a debate as to whether or not the perceived erotic subtext in Le Fanu’s novella has been misinterpreted by non-Victorian readers, yet many filmmakers have nonetheless taken the subtext at face value, taking whatever supposed eroticism is there in the writing of the book out of the implicit and into the explicit; and, for its time, Jess Franco’s Female Vampire (a.k.a. La comtesse noire, Bare Breasted Countess, Erotikill, and many more) has to be the most erotic lady vampire piece, even more so for the XXX version Lüsterne Vampire Im Spermarausch. (On the opposite end of the spectrum is perhaps, and also recommended, Let’s Scare Jessica to Death — a Carmilla influenced movie that hardly features any eroticism).