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Jul 13 15 6:11 PM
hermanthegerm wrote:Could be an Eye-talian thing. Who knows?
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I saw (part of) this theatrically. As I recall it was on a
double bill with The Beyond. We saw
the end of The Beyond from about halfway and about 50 minutes of this
before my companion could not take it anymore and we left the theater.
The point where we left was either after the head drilling,
or at the attack at the bar. Not really sure.
You can criticize Fulci all you want but, at least in
regards to its disturbing (or disgusting) qualities, the film did its job.
There are a lot of roaring effects during the movie, and in
our screening the roars were done practically from the projection booth. I
don't know if this was done specifically for this movie as a part of a stunt or
not. Others may echo me here.
The story is the most fragmented and nonsensical of Fulci's
best regarded films: A priest's suicide opens the door of Hell and many
unrelated supernatural events, mostly dealing with the rising of the dead, and
some previously prophesied are read as signs of the end of the world.
As such, this film is just about as apocalyptic as they come
(see The Seventh Sign (1988) for virtually the same type of story, but dealt with
The use of Dunwich as a location may tie it to the Lovecraft
Mythos, but that would be a mistake.
Fulci relies on real viscera, living worms and maggots, and
disgusting, bloody effects. These are
probably the true raison d'etre for the film. The films redoubtable highlight
(one of many other such instances) is that of a girl graphically puking out her
Undead bodies, of differing degrees of decomposition, walk
around tearing the scalps (and brains) of the living. In one case a kidney
comes out of a skull.
At this level of crude ambition, the film works.
The sillier effect may be the instant appearance and
disappearance of some of the ghosts/walking dead/zombies... All it needs is a
BOING!!! sound effect to become fully comedic. But other than that one misstep
Fulci manages an ambiance of dread and unease.
Fabio Frizzi's music helps a lot.
The enigmatic end (or non-end) was lifted by Sam Raimi for
The Evil Dead (1981)
Not as poetic as Zombie (1979), The Beyond or House by the
Cemetery but it still manages to have
a sick charm all of its own.
Watch at your own risk. You have been warned.
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