EDITORIAL: Why Lucio Fulci's Gates of Hell Trilogy Rocks

Often referred to as the "Italian godfather of gore" by fans, cult director Lucio Fulci is one of the most beloved horror filmmakers of all time. While he has dabbled in other genres, including westerns, comedies, and even a couple of kids' movies, it is his horror films that made him a legend. While I would consider 1979's Zombie to be his masterpiece, his Gates of Hell trilogy is very much worth examining. Despite not being quite as controversial as Don't Torture a Duckling or The New York Ripper, Fulci's reputation as a purveyor of nastiness is still quite evident in these films. All three of them involve, of course, some sort of property being constructed on one of the supposed gateways into Hell (a sort of spin on the “Indian burial ground” trope). Obviously, this leads to the residents of said area to be endangered. While none of the three films are connected by shared stories or characters, the thematic connection(s) has led them to be deemed a trilogy of sorts. All three were directed by Fulci and co-written by himself and Dardano Sacchetti (among some additional writers). All three films also happened to star actress Catriona MacColl, albeit as three entirely different characters.

All three in the trilogy do, however, have some similar flaws. The narratives are a little jumbled at times, there are some notable leaps in logic, some of the acting can be a tad questionable at times (though usually not from principle characters), and plenty of things just aren’t explained. Nevertheless, this horror movie trio is a cult favorite for many gorehounds (myself included). Fulci’s particular brand of splatter is so creative and endearing, and it’s hard for lovers of all things bloody not to get sucked in. So without further ado, let’s talk about... the Gates of Hell trilogy!

City of the Living Dead (aka The Gates of Hell) (1980)

In City of the Living Dead, after a priest commits suicide in the city of Dunwich, the gates of Hell are opened, and people start dying. A psychic named Mary Woodhouse (Catriona MacColl) must team up with journalist Peter Bell (Christopher George) to find a way to close the gates before All Saints Day. If they don’t, the dead will rise from their graves to wipe out the living.

This movie really established the tone that would continue into the other two films. It was gloomy and rather grim, but in an odd way, it’s also kinda fun. Parts of it are so crazy that one can’t help feeling a certain ghoulish delight. There’s a massive swarm of maggots that sprays all over a group of people. A power drill is jammed all the way through a guy’s head. And of course, there’s the infamous scene of a woman puking up her entire digestive track. It’s just insane, and the effects are (usually) pretty good. Even when they look a little fake, one doesn’t really care because it’s still gross enough to get a reaction. The score is done by Fabio Frizzi, who has composed for a lot of other Fulci films. He is such a wonderful composer, and he knows exactly how to establish a rich atmosphere. His scores tend to be mostly (if not entirely) keys, and they’re beautiful.

One thing about City of the Living Dead that is often talked about is the ending. There kind of... isn’t one. Supposedly, the editor spilled coffee on the negative containing the final moment(s), forcing them to slap together a vaguely foreboding final shot. This is probably the biggest detractor from the film, but that’s the only glaring flaw that’s exclusive to this film. I don’t think it makes the awesome gore and rich atmosphere any less effective.

The Beyond (aka Seven Doors of Death) (1981)

Liza Merril (Catriona MacColl) has just inherited an old hotel in Louisiana at which, years ago, an alleged warlock was lynched by an angry mob. Liza wants to reopen the hotel, but during the reconstruction process, bizarre accidents keep happening, resulting in fatal injuries. It turns out that the hotel was constructed on one of the gates of Hell, and the lynching all those years ago accidentally served as a blood sacrifice, opening the portal.

Objectively speaking, this one is probably the strongest of the trilogy. It feels the most complete, and it features some of the most haunting visuals. While there is hardly a lack of the gruesome Fulci violence, there is a bigger emphasis on the surreal in The Beyond. It’s the most atmospheric (once again aided by an outstanding Frizzi score, possibly his best!), and it highlights the mysticism more than the other two films. This does mean that it can be a little hard to follow, though. There are some random, unexplained occurrences, but they don’t seem entirely out of place here, given the tone/style. It does, unfortunately, feature the lamest effect in the trilogy. There’s a scene in which an unconscious man is attacked by tarantulas, and some of them are very obviously fake. However, as one with crippling arachnophobia, I’m totally okay with it. Overall, The Beyond is easily the most sophisticated of the Gates of Hell saga, but that does mean it might not be quite as appealing to more casual viewers. But for the initiated, it is likely the most satisfying.

The House By the Cemetery (1981)

The final entry is actually the first one I ever saw. In The House By the Cemetery, Dr. Norman Boyle (Paolo Malco) moves into the titular house with his wife, Lucy (Catriona MacColl), and son, Bob (Giovanni Frezza), to assume the work of his late colleague. Boyle’s deceased associate had been researching the house’s history before killing his mistress and then himself. It turns out that there is a history of people being murdered in that house, and no one knows by whom. But something is clearly going on in the locked and sealed cellar. What, or who, could it be?

Unless I’m misremembering, this movie never explicitly mentions a gateway to Hell, but given the pattern established in the previous two entries, it’s easy to find the connections. This one is probably the simplest of the trilogy. It’s less jumbled than the other two, and it’s a bit more streamlined. It’s also probably no coincidence that it is the most popular of them. It’s the most accessible for those who aren’t already Lucio Fulci devotees. It took the common themes from City of the Living Dead and The Beyond, and it placed them in a slightly more traditional haunted house movie.

Sadly, this film also has one of the most aggravating parts of the entire trilogy: Bob. Holy hell, is this kid annoying. I can’t put too much blame on Giovanni Frezza, because his voice is dubbed, and it’s the voice that is just whiny and unbearable. Every time you hear him talk, you just feel like punching something. As much as I do really enjoy this movie, Bob is most definitely Fulci’s Jar-Jar Binks.

Overall, as flawed as these films are, I just can’t help but love them. Fulci’s work is most definitely not for everybody. His pacing is typically a bit inconsistent, there can be some narrative detours, and the gross-out element has divided many horror fans. But I really feel that more people should give his work a chance, and the Gates of Hell trilogy is one of truest examples of a cult classic.