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E tu vivrai nel terrore-L'Aldilà

From immemorial time the houses are a bad place where the forces of evil loves to spend their time, live in and create problems for those who live here.

's a subject that has always lit up the imaginations of filmmakers, producers and audiences. One issue that still works pretty and at the period we are talking about (the late seventies early eighties) boasted of the true masterpieces.

Evil cement who built many symbols of cinema as "Shining" or "Inferno" by Dario Argento or  "The House" by Raimi and many more.

And in this vast damn overbuilding goes also the wily De Angelis, volcanic producer and lobbyists who give to Lucio Fulci a movie title. A title yes, because first of all De Angelis without a subject or script found funding for a film.

And then there comes Lucio Fulci. The italian director adds to the first chapter of his "death trilogy," "Paura nella città Dei Morti", this powerful and monumental "E tu vivrai nel terrore..." predecessor then "Quella Villa Accanto al Cimitero."

To the detriment of everything, from producer to budget, Fulci manages to create a visionary masterpiece, heavy and frightening, making the best use each feature and situation. Yes, of course, the film at some point turn to some business logic, using the invasion of the zombies like Romero and is also true that the walls are demonic in a hotel and that there is a blind character (quotes! reused!) but the result is great anyway. Apart taking things from others movies Fulci reaches its climax for the horror industry, giving us a real pearl.

Panned by critics as the best cases, "And you shall live ..." had a considerable commercial success too strong of a story that affects a lot in its simplicity.

A prologue to a book, a woman, and a heritage hotel. Here. Strange deaths, workers falling, plumbers sucked from the bowels and unexplained events as bells ring continuously. And a blind girl.

The main character is called Liz, and in this story is accompanied by a physician named McCabe. Among zombies, monsters and whatever else the various all ends in a way that seals and frames the absolute visionary of this work.

We find again Catriona McColl always present in the "Trilogy of Death", Cinzia Monreale, and an unsuspecting Michele Mirabella still far from television career.

A cult. A masterpiece. There are no other words.