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.
It '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.
