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(aka "Paura nella città dei morti viventi" or "Gates of Hell" or "Fear in the City of the Living Dead" or "Twilight of the Dead" )
directed by Lucio Fulci
Italy 1980
When Father Thomas (Fabrizio
Javone) hangs himself, the sacrilegious act causes the Gates
of Hell to open beneath the Dunwich cemetery. Mary (Catriona
MacColl), a medium, witnesses this event during a séance in
New York and apparently dies of shock but wakes up to find
herself entombed in a buried coffin. Fortunately, meddling
reporter Peter Bell (Christopher George) comes to her rescue
(although he nearly kills her in the process) and together
they hit the road in search of Dunwhich to shut the Gates of
Hell before All Saints' Day when the dead will walk the
earth but strange (read: gory) things are already beginning
to happen in the town since Father Thomas killed himself.
Two necking teenagers (future Italian horror director
Michele Soavi and Fulci's favorite victim Daniela Doria)
have disappeared (well, we know they didn't really disappear
since we're shown their fates in graphic detail) and
slow-witted Bob (Giovanni Lombardo Radice, a respected stage
actor destined to splattered with fake blood, real animal
guts, and latex throughout his exploitation career) is the
likely suspect since psychiatrist Gerry's (Carlo De Mejo,
son of Alida Valli) girlfriend Emily (Antonella Interleghi,
NEW YORK RIPPER) has also turned up dead from
shock after visiting Bob. Emily's little brother John-John
(Luca Venantini, son of actor Venantino Venantini who also
has a role here as one of the bigoted townsfolk) is seeing
ghoulish, brain-squishing apparitions and painter Sandra
(Swedish model Janet Agren) is being terrorized by the
corpse of an elderly woman that keeps popping up in odd
places in her house. Peter and Mary hook up with Gerry and
Sandra and compare notes (under a shower of maggots) and
finally determine that the dead seem to have risen a little
early but the best option still seems to be checking out the
cemetery as the likely location for the Gates of Hell. |
Posters
Theatrical Release: May 1983 (USA)
Reviews More Reviews DVD Reviews
Comparison:
Arrow Video (30th Anniversary Edition) - Region 0 - PAL vs. Anchor Bay Entertainment (Lucio Fulci Collection) - Region 1 - NTSC vs. Arrow Video (30th Anniversary Edition) - Region FREE - Blu-ray vs. Blue Underground - Region FREE - Blu-ray |
Big thanks to Eric Cotenas for all the DVD Screen Caps and Michael Den Boer for all the Blue-Underground Blu-ray captures!
1) Arrow Video (30th Anniversary Edition) - Region 0 - PAL - LEFT 2) Anchor Bay Entertainment (Lucio Fulci Collection) - Region 1 - NTSC - SECOND 3) Arrow Video (30th Anniversary Edition) - Region FREE - Blu-ray - THIRD4) Blue Underground - Region FREE - Blu-ray - RIGHT
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Box Covers |
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Distribution |
Arrow Video Region 0 - PAL |
Anchor Bay Entertainment Region 1 - NTSC |
Arrow Video Region FREE - Blu-ray |
Blue Underground Region FREE - Blu-ray |
Runtime | 1:28:51 (4% PAL speedup) | 1:32:36 | 1:32:43.891 | 1:32:46.727 |
Video |
1.84:1 Original Aspect Ratio
16X9 enhanced |
1.83:1 Original Aspect Ratio
16X9 enhanced |
Disc Size: 45,871,842,872 bytes Feature Size: 25,882,146,816 bytes Average Bitrate: 29.99 MbpsDual-layered Blu-ray MPEG-4 AVC 1080P |
Disc Size: 42,106,759,661 bytes Feature Size: 29,487,200,256 bytes Average Bitrate: 34.99 MbpsDual-layered Blu-ray MPEG-4 AVC 1080P |
NOTE: The Vertical axis represents the bits transferred per second. The Horizontal is the time in minutes. |
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Bitrate:
Arrow Video (30th Anniversary Edition)
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Bitrate:
Anchor Bay Entertainment (Lucio Fulci Collection)
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Bitrate:
Arrow Blu-ray
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Audio | English Dolby Digital 5.1; English Dolby Digital 2.0 stereo |
English Dolby Digital 5.1; English Dolby Digital 2.0 surround |
DTS-HD Master Audio English 2267 kbps 7.1 / 48
kHz / 2267 kbps / 16-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps /
16-bit) DTS-HD Master Audio English 1943 kbps 5.1 / 48 kHz / 1943 kbps / 16-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 16-bit) Dolby Digital Audio English 224 kbps 2.0 / 48 kHz / 224 kbps / DN -4dB Dolby Digital Audio English 224 kbps 2.0 / 48 kHz / 224 kbps / DN -4dB Dolby Digital Audio English 224 kbps 2.0 / 48 kHz / 224 kbps / DN -4dB Dolby Digital Audio English 224 kbps 2.0 / 48 kHz / 224 kbps / DN -4dB |
DTS-HD Master Audio English 4530 kbps 7.1 / 48
kHz / 4530 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps /
24-bit) Dolby Digital EX Audio English 448 kbps 5.1-EX / 48 kHz / 448 kbps / DN -4dB Dolby Digital Audio English 192 kbps 1.0 / 48 kHz / 192 kbps / DN -4dB |
Subtitles | none | none | none | English, French, Spanish, none |
Features |
Release Information: Studio: Arrow Video Aspect Ratio:
Edition Details: Chapters 12 |
Release Information: Studio: Anchor Bay Entertainment Aspect Ratio:
Edition Details: Chapters 26 |
Release Information: Studio: Arrow Video
Disc Size: 45,871,842,872 bytes Feature Size: 25,882,146,816 bytes Average Bitrate: 29.99 MbpsDual-layered Blu-ray MPEG-4 AVC 1080P
Edition Details: Chapters 12 |
Release Information: Studio: Blue Underground
Disc Size: 42,106,759,661 bytes Feature Size: 29,487,200,256 bytes Average Bitrate: 34.99 MbpsDual-layered Blu-ray MPEG-4 AVC 1080P
Edition Details: Chapters 12 |
Comments |
NOTE:
The below
Blu-ray
captures were taken directly from the
Blu-ray
disc.
ADDITION - Blue Underground - Region
FREE -
Blu-ray May 2010 -
This transfer comes from the same Hi Def that was used
for the Arrow Video
Blu-ray
and DVD releases. And yet the two transfers do differ
slightly. Colors looking more vibrant, flesh tones looking more lifelike and
black levels looking stronger on the Blue underground transfer. It also has
a higher video bitrate. One other thing the sets the two transfers apart is
that there is that Arrow Video rendering has noticeable issues with
compression. ADDITION - Arrow - Region FREE - Blu-ray May 2010 - I think all of Eric's comments hold true in regards to a comparison with the Anchor Bay DVD but now everything is exemplified by the higher resolution of the dual-layered Blu-ray. Meaning better detail, more support for the heavy grain structure, tighter colors etc. The Blu-ray does give a couple of lossless DTS-HD Master tracks - a rangy 7.1 at 2267 kbps and an equally robust 5.1 at 1943 kbps. The mix is pretty good considering and effect noises are rife from screams and shrieks to beyond - seemingly coming at all angles of your system. The Blu-ray likewise doesn't offer any subtitles but my Momitsu has identified it as being a region FREE disc playable on Blu-ray machines worldwide. NOTE: Extras played on my Region 'A' Blu-ray player. The extensive extras (as covered below) are duplicated and Fulci fans will rejoice at this wonderful 1080P release running in theatrical time (No PAL speedup). ***
ON THE DVDs: Mastered from high definition (a
joint venture between Blue Underground and Arrow Video and
forthcoming on
Blu-ray and DVD from both companies with exclusive
extras), Arrow Video's anamorphic transfer of CITY OF THE LIVING
DEAD is without question superior to previous editions. Unlike Fulci's other early eighties gorefests which were photographed
in Techniscope, CITY OF THE LIVING DEAD was shot in 16mm and
will always look grainy but the new master is the best the film
has looked (my previous scope of reference for this film being
two faded, scratchy domestic tape releases, Anchor Bay's earlier
DVD release, and Vipco's non-anamorphic DVD). The new transfer
reveals slivers of additional picture information not present on
the Anchor Bay disc, the colors are bolder, and the grain finer.
Anchor Bay's 2000 disc is also an anamorphic transfer but darker
with less visible detail although sometimes the skin tones are
warmer (the living Father Thomas has a slightly ruddier pallor
in the AB image than he does on the Arrow). Grain looks larger
on the lower resolution image. The 5.1 and 2.0 remixes are
similar to the ones on the current Arrow disc (except the 2.0
track on the AB is surround-flagged) but the volume is lower.
Only in the second set of comparison caps does the Anchor Bay
disc look better.
The second dual-layer disc is packed with supplements. Each of
the interview segments is preceded by lengthy and amusing
introductions featuring animated adaptations of sequences from
the film. The documentary "Fulci in the House" seems like it was
intended for Arrow's release of Fulci's HOUSE BY THE CEMETERY.
After discussing ZOMBI 2 (the unofficial sequel to George
Romero's
DAWN OF THE DEAD which was titled ZOMBI in Italy), the
documentary glosses over CITY OF THE LIVING DEAD (and THE
BEYOND) to discuss HOUSE for the remaining 2/3 of the running
time (the documentary also features clips only from ZOMBI 2 and
HOUSE). Carlo De Mejo and Catriona MacColl relate their memories
of the production. De Mejo has anecdotes about some key
sequences (he is just as uncertain about the ending as other
commentators), points out the CITY hommage in Tarentino's KILL
BILL VOLUME 2, and also mentions his subsequent Fulci film
appearances briefly. There is some overlap between MacColl's
interview and the 7 year old audio commentary especially since
she is asked some similar questions. The interview with Fulci's
daughter Antonella is interesting because she talks about the
film's story seriously rather than focusing on the set-pieces.
She draws parallels between the outcast scapegoat characters in
DON'T TORTURE A DUCKLING and CITY and mentions being on set for Florinda Balkan's death scene in the former film (and being
fascinated with the effects work). Luigi Cozzi mentions how he
nearly got to work with Fulci twice (first when a producer
expressed interest in Fulci directing his script "Out of the
Depths" not knowing that the title had been changed to THE BLACK
CAT and that it had already been directed by Cozzi and then the
Dario Argento-produced WAX MASK but Fulci died before
production) and also mentions how his directorial career took
off with CONTAMINATION as a result of Fulci's success with ZOMBI
2 and the new-found box-office draw of extreme gore. The "Live
at the Glasgow Theatre" Q&A session features both MacColl and
Radice and Arrow has helpfully subtitled the offscreen
audience's questions. The longest featurette is the 50 minute
"The Lives (and Deaths) of Giovanni Lombardo Radice" and
features his amusing recollections of his memorable Italian
genre appearances. The extras are rounded out with a stills
gallery. |
DVD
Menus
(Arrow Video DVD and
Blu-ray
(30th Anniversary
Edition) - LEFT vs. Anchor Bay Entertainment (Lucio
Fulci Collection) - Region 1 - NTSC - RIGHT
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Screen Captures
1) Arrow Video (30th Anniversary Edition) - Region 0 - PAL - TOP 2) Anchor Bay Entertainment (Lucio Fulci Collection) - Region 1 - NTSC - SECOND 3) Arrow Video (30th Anniversary Edition) - Region FREE - Blu-ray - THIRD4) Blue Underground - Region FREE - Blu-ray - BOTTOM
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1) Arrow Video (30th Anniversary Edition) - Region 0 - PAL - TOP 2) Anchor Bay Entertainment (Lucio Fulci Collection) - Region 1 - NTSC - SECOND 3) Arrow Video (30th Anniversary Edition) - Region FREE - Blu-ray - THIRD4) Blue Underground - Region FREE - Blu-ray - BOTTOM
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1) Arrow Video (30th Anniversary Edition) - Region 0 - PAL - TOP 2) Anchor Bay Entertainment (Lucio Fulci Collection) - Region 1 - NTSC - SECOND 3) Arrow Video (30th Anniversary Edition) - Region FREE - Blu-ray - THIRD4) Blue Underground - Region FREE - Blu-ray - BOTTOM
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1) Arrow Video (30th Anniversary Edition) - Region 0 - PAL - TOP 2) Anchor Bay Entertainment (Lucio Fulci Collection) - Region 1 - NTSC - SECOND 3) Arrow Video (30th Anniversary Edition) - Region FREE - Blu-ray - THIRD4) Blue Underground - Region FREE - Blu-ray - BOTTOM
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