![]() The somewhat somnambulant action regularly grinds to a halt for protracted scenes such as a girl vomiting up her intestines, a stab wound disgorging maggots, or a man’s face being eaten by spiders. These two, plus City of the Living Dead, formed what became known as Fulci’s Gates of Hell trilogy: characterised by meandering narratives with a vaguely Lovecraftian theme (Dunwich gets name-dropped), set to Fabio Frizzi’s creepy prog-rock scores. Photograph: Fulvia Film/Kobal/Shutterstockįulci had two more films on the DPP’s nasty list – The Beyond and The House By the Cemetery – which for hardcore British horror fans was as good as giving them the seal of approval. ![]() ![]() ![]() (Don’t look too closely or you’ll see cars going in both directions in the background the budget wasn’t big enough to stop the traffic.) Other slightly more family-friendly highlights include an underwater tussle between a zombie and a shark, and an astonishing vision of zombies shambling across New York’s Brooklyn Bridge. In early 1980s Britain, Zombie Flesh Eaters ended up on the director of public prosecutions’ list of video nasties, mostly due to closeups of an eye punctured by a giant splinter. At least, that was its UK title its Italian studio called it Zombi 2 to cash in on the success of George A Romero’s Dawn of the Dead, which had been released in Italy as Zombi. It was a film called Zombie Flesh Eaters that brought Fulci to international attention. This is a director who seemingly can’t film an eye without getting the urge to squish, skewer or enucleate it. This is a director who seems pathologically incapable of filming someone falling off a cliff without inserting closeups of their face scraping against the rocks on their way down. T here is more than one candidate for the title Godfather of Gore, but Italian film-maker Lucio Fulci can lay greater claim to it than most. ![]()
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