Archive for Don’t Torture a Duckling

Favourite Five Series: LUCIO FULCI

Posted in Favourite Five Series, horror, Italy, movies with tags , , , , , , , , , , , , , , , , , , , , , , , , , , on October 30, 2013 by goregirl

The road to good intentions was paved with one too many social events this October. I really would have liked to have done more Favourite Five lists in honor of Halloween. Since I could not accommodate as many lists as I would have liked I will at least close the month out with a mighty duo. Two of the horror genres heaviest hitters (in my world anyway) and two of my personal faves. Lucio Fulci directed a few comedies and westerns but it is the horror entries that made me a fan for life. I adore both his beautiful, sexy, surreal and intriguing Giallos as well as his spectacularly gory gag-fests! As seems to be the case with the Favourite Five series thus far, there is always 3 or 4 that are easy choices with one or two that tear me up inside choosing. The more I love the director the more challenging this is. It was particularly difficult to leave Massacre Time, New York Ripper and Perversion Story off the list. Not to mention City of the Living Dead, House by the Cemetery and even the much maligned but near and dear to my heart Cat in the Brain starring Fulci as himself! I have seen all of the below films multiple times and four of the five are on my top 100 favourite horror films of all time. Fulci is a God and should be worshipped accordingly.

DON’T TORTURE A DUCKLING (1972)

The original Italian title translated as “Don’t Torture Donald Duck”. For legal reasons Fulci was unable to use the name Internationally. The reference is to a Donald Duck doll; one of the main clues in the film. If South Park has taught me anything (and it has taught me plenty) you do not fuck with Disney.

Dont_Torture_a_Duckling

A killer is murdering young boys in a remote Italian village. A young woman laying low after a recent drug scandal is recognized by a reporter and the two work together to attempt to solve the crime. Don’t Torture A Duckling lacks the gore of Fulci’s later work but it is definitely gritty, bleak and nasty. When young boys are killed in a small village the ugliness, cruelty and hatred of small town, small-minded folks is left behind. There is plenty of Anti-Catholic sentiment here which may have been the reason the film was blacklisted when it was released in 1972. There are several suspects among the group of eccentric locals. Their distrust of outsiders and their superstitious beliefs presents many challenges. The atmosphere is unsettling and the remote village is eerie and cloying. There are several twists, turns and a few shocks. The most shocking of which is an unforgettable mob scene that leaves me aghast no matter how many times I watch it. The performances are brilliant particularly from Barbara Bouchet who plays the smart and feisty Patrizia, Tomas Milian who plays the determined and handsome Andrea Martelli and Florinda Bolkan whose fierce and fearless turn as Maciara is truly memorable. Fulci uses some particularly wild and woolly zooms; the man does love his closeups. Compelling, smart, beautiful, well acted; Don’t Torture a Duclking is one of the best Giallo’s ever made.

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THE BEYOND (1981)

The Beyond is the second in a trio of Hell on Earth premised flicks directed by Fulci in the 80s; all three starring Catriona MacColl. Besides the Hell on Earth premise and Ms. MacColl’s appearance the films have little connection to one another and were never officially released as a trilogy. The Beyond’s predecessor City of the Living Dead is about psychic Mary Woodhouse who sees the death of a priest in a vision. The priest’s death causes the gates of Hell to open. In The Beyond MacColl plays Liza Merril who inherits a hotel built on top of one of the seven gates of Hell.

The Beyond

An artist accused of being a warlock is murdered by a lynch mob and his death opens one of the seven doors of Hell below a Louisiana hotel. Decades later Liza Merrill inherits the doomed hotel and unknowingly re-opens a door to hell while renovating. Liza and her acquaintance Dr. John McCabe are soon fending off the living dead, ghosts, and the possessed in a tour de force of supernatural mayhem! Fulci throws a little bit of everything into this unholy masterpiece! People are nailed to walls, eaten by tarantulas, melted by acid, and of course there is classic Fulci eye trauma! And lest we not forget the undead! Beautiful, rotted wonderfully vial zombies! The zombies come in various states of grossness. In fact, a few look like old men who just need a nap. Don’t expect an explanation for everything; some of the action is bordering on illogical. Don’t look at that as a bad thing. The Beyond has such a creepy, moody, electric atmosphere and is oh so fan-fucking-tastic to look at it that it is easy as one-two-three to just get lost in the ultimate nightmare! The Beyond is beautiful, classic Fulci at his gory best!

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ZOMBIE (1979)

Another Fulci film title meets controversy. Fulci’s film shared a moniker with the Italian release of George A. Romero’s Dawn of the Dead. Zombie became known as Zombie Flesh Eaters, Zombi 2 and Island of the Living Dead. I give both men’s films a 5/5 but one area that Fulci surpasses Romero is the vileness and pure rottenness of his zombies. No one has topped these zombies in my opinion not to this day. They are the most disgusting zombies to grace a genre film. Rotten flesh covered in maggots and worms. REAL maggots and worms too. I am sure the extras were not paid nearly enough for their roles in Fulci’s film. What a delightfully dreck treat it is to see someone fight for their life and end up with a chunk of rotten flesh in their hands! Freaking beautiful!

Zombi 2

Anne Bowles sets out to find her father after his ship turns up abandoned in New York’s harbor. Anne hooks up with journalist Peter West and together they travel to the Antilles with couple Brian and Susan. Once on the Island they meet the curious Dr. Menard, who tells them about the infection spreading that brings the dead back to life. Zombie is one of the few genre films to feature the undead under water. Why the hell not? They don’t breath…they are dead! Fulci throws in the pièce de résistance with a zombie attacking a shark. Zombie’s awesome opening sequence sees one man shoot another and then say to someone off-screen “The boat can leave now. Tell the crew”. The next shot is a seemingly abandoned boat floating in the New York harbour. Two coast guards board the ship and one of them gets an ugly surprise when a large nasty looking zombie rips his throat out with its teeth. One must appreciate getting both a zombie and a kill in the first few minutes of a genre film! There is entrail eating, throat ripping, eye gouging and unnecessary nudity. From its quiet and haunting opening to the final frame there is more gorgeous graphic goodness than one zombie film deserves to have. Fulci delivers the gory goods! The breathtaking scenery of the Island is the perfect backdrop to the zombie mayhem to come and the brilliant score by Fabio Frizzi is the perfect accompaniment to the dread. Zombie is absolutely one of the finest zombie films ever made. Period.

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A LIZARD IN A WOMAN’S SKIN (1971)

A Lizard in a Woman’s Skin is Fulci’s most surreal and esthetically pleasing of his resume; it is also the film with the most significant controversy. The film contains a graphic scene of sliced open dogs whose hearts are still beating. The dogs looked so realistic that Fulci was allegedly charged and threatened with a two-year prison sentence. Special effects artist Carlo Rambaldi was called into court to prove his dogs were fake. Can a special effects person get any better compliment than that?

Lizard in a Womans Skin

Carol Hammond; the daughter of wealthy politician Edmund Brighton has been seeing a psychoanalyst about some disturbing dreams. The dreams features her neighbor Julia who often throws noisy parties which both irritate and titillate Carol. Carol’s dreams continue and escalate in severity. After Carol has a dream she has killed Julia she awakes to learn that Julia has been found dead. Has fantasy become reality? Inspector Corvin intends to find out. A Lizard In A Woman’s Skin is a well crafted and engaging mystery. The film contains little graphic violence and is more of a surreal, psychedelic trip laced with sex and drugs. The visuals are fabulous especially Carol’s numerous dream sequences. Sexy, beautiful, dreamy and warped; just the way I like my dream sequences. The film kept me guessing and has an outstanding reveal and finale. A Lizard in a Woman’s Skin is loaded with great performances from some of my favourite actor and actresses from the period like Jean Sorel who plays Julia’s husband Frank, Stanley Baker who plays the Scotland Yard Inspector, Anita Strindberg who plays Julia and Edy Gall who plays Frank’s teenage daughter Joan. But first and foremost there is Florinda Bolkan who plays central character Carol Hammond. This role is one of the main reasons I have an immense respect and adoration for this extraordinarily talented actress. She is also a striking woman visually. A Lizard in a Woman’s Skin is a hypnotic, fascinating and sexy Giallo that thrills and rewards.

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THE PSYCHIC (1977)

I had little use for The Psychic when I seen it the first time around. I was all about the gore in my teens and early twenties and if it didn’t have gore I was not very interested. When I re-watched The Psychic for my 1977 top ten list I was suitably impressed with the film and gave it the number seven spot in the top ten for a very strong year in the decade. However it was when I re-watched The Psychic to compile pictures for a slideshow featuring music from the film that I realized what a particularly solid horror thriller it really was.

the psychic

When psychic Virginia Ducci sees a murder in one of her visions it results in the arrest of her husband. Virginia sets out to clear her husband of the crime. Obviously that is the extremely truncated plot summary; there is much more going on in The Psychic than that. Virginia has several visions through the film that include the death of her mother among other traumas. Virginia intends to renovate a mansion her rich husband bought and recognizes it from one of her visions. She tears open a wall and finds some skeletal remains and immediately calls the police. This is how hubby gets arrested. The Psychic’s intriguing story is full of suspense and mystery. While the reveal isn’t a terrible shock it is well-executed and the finale is a memorable treat. Jennifer O’Neill is well cast as Virginia Ducci and is a strong and likable lead. The performances by all the cast are quite decent. A nice unsettling mood and atmosphere is established and the setting is perfect and suitably eerie. It is all complimented beautifully by the fabulous soundtrack from Franco Bixio, Fabio Frizzi and Vince Tempera. The Psychic is an ever so sweet horror thriller that I think is rather under-appreciated in Fulci’s library.

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VIVA GIALLO: 10 Favourites for an October Moon

Posted in horror, Italy, movies with tags , , , , , , , , , on October 18, 2012 by goregirl

I did a guest post over at Anti-Film School of my Top Five Scariest Italian Horror Films. I yakked about how much I love Giallo and realized I had never really done a top 10 list of my favourites. I am going to use the same criteria as I did for my Anti-Film School list with one title per director so I can insure ten different directors are represented. Viva Giallo!

Deep Red (1975)

Directed By: Dario Argento

He is the maestro of murder, the master of deception, the connoisseur of color-distorters, the sweet whisperer of shadows, the conductor of the constantly moving camera, he is Dario Argento! My first foray into the world of Giallo started right here and I’ve never looked back. Hold on! I look back all the time! I’ve seen Deep Red more times than I can count on my fingers and toes! David Hemmings plays a pianist who lives below the films first victim and witnesses her death. Hemmings is perfectly cast as the pianist. He is not a detective, he’s a musician, and he charmingly trips, falls and bumbles his way through to the films conclusion. Daria Nicoldi does a solid job as an aggressive liberated journalist/reporter who works with Hemmings to solve the mystery. Death doesn’t get more stylish than this!

DON’T TORTURE A DUCKLING (1972)

Directed By: Lucio Fulci

The Godfather of Gore, the narrator of nightmares, the harbinger of horrors, the messenger of the macabre, the shepherd of the supernatural, and the luminary of the lens he is Lucio Fulci! When some local boys go missing and turn up dead in a small superstitious town practically everyone is a suspect. It twists, it turns, and it even shocks! The visuals are quite extraordinary and the performances are great particularly by the talented Florinda Bolkan who plays La Magiara a black magic practicing gypsy. There is an amazing mob scene that leaves me in awe every time I see it. Don’t Torture a Duckling is absolutely one of Fulci’s best and one of the best Giallo ever made!

THE STRANGE VICE OF MRS WARDH (1971)

Directed By: Sergio Martino

The ringmaster of red herrings, the taskmaster of twists, the squire of sexy, the baron of beauty, the superstar of scenery and set pieces, the captain of casting he is Sergio Martino. What is Mrs. Wardh’s strange vice? Mrs. Wardh likes men, and she also likes it a little rough and gets herself into a whole mess of trouble. It features the stunning Edwige Fenech, one of my favourite ladies of Giallo. The Strange Vice of Mrs. Wardh is sexy, beautiful, mysterious, thrilling, and violent! The finale is a trinity of twists that is oh, so satisfying! Exquisite!

TWITCH OF THE DEATH NERVE (1971)

Directed By: Mario Bava

Who knows, there might not have ever been a director Dario Argento, Lucio Fulci or Sergio Martino if there had never been a Mario Bava. Mario Bava along with Riccardo Freda and Antonio Margheriti were the igniter’s of the horror inferno that would spread throughout Italy. Bava’s The Girl Who Knew Too Much and Blood and Black Lace are widely acknowledged as forerunners to the Giallo surge of the early 70s. And than there is the crazy convoluted gem; Twitch of the Death Nerve. What a great freaking title! And if I haven’t credited Bava with enough, this film is considered by many to be the first slasher film. It has a massive body count and each death is unique and nasty fun! Twitch of the Death Nerve is an absolutely fantastic looking film with a death around every 10 minutes and more red herrings than you can shake a stick at it! A gothic mansion, a serene bay, and a pile of greedy dead bodies; it is all part of a complete breakfast. Bava-licious!

SHORT NIGHT OF GLASS DOLLS (1971)

Directed By: Aldo Lado

I recently reviewed Aldo Lado’s excellent Night Train Murders, which is more straight up horror than my choice for this list. Short Night of Glass Dolls central character Gregory Moore’s seemingly lifeless body has been found. While his body appears lifeless his mind is working furiously to retrace his steps. We learn along with the character how he came to find himself in this predicament. This bloodless but engrossing tale has great suspense, an intriguing mystery and one hell of an ending! It also has a damn impressive cast featuring Jean Sorel, Ingrid Thulin and gorgeous Barbara Bach. Fantastic stuff!

RED QUEEN KILLS 7 TIMES (1972)

Directed By: Emilio Miraglia

Emilio Miraglia only directed six films and only two of those are horror-oriented Giallo. The Night Evelyn Came Out of the Grave is pretty fun but Red Queen Kills 7 Times is the masterpiece of the duo. An old supernatural family curse about a red queen motivates the action which is plentiful and fantastic! Jam-packed with steamy Giallo sexpots who look frightfully similar to one another! Red Queen Kills 7 Times is sexy, suspenseful, frantic, the kills are a creative delight and the red queen is a simply fantastic character! Red Queen Kills 7 Times is just a shitload of fun!

SEVEN BLOOD-STAINED ORCHIDS (1972)

Directed By: Umberto Lenzi

Seven Blood-Stained Orchids is bar none my favourite Umberto Lenzi film. A string of suspicious characters, inept cops and a glove wearing maniac coined “the half-moon killer” on account of the souvenir he leaves at the scene of the crime. Great looking cinematography and some imaginative murder scenes; including one of my all time faves that sees an artist killed and their blood mixing with paint. Violence, gore, nudity, above average performances and a bizarre and brilliant soundtrack. Some killer imagery and thrills that are not to be missed.

THE KILLER MUST KILL AGAIN (1975)

Directed By: Luigi Cozzi

To be honest, the only two films I’ve seen from Luigi Cozzi are the sketchy Starcrash and Contamination (which does have its moments). No matter, as he concocted a damn fine Giallo with The Killer Must Kill Again. It’s the story of an adulterer dirtbag who hires a killer to knock off his wife and a young couple that inadvertedly complicate the deal. This is a unique entry in the world of Giallo as we know who has committed the crime from the get go. Great suspense, wicked twists, creative visuals and Antoine St. John is just fantastic as the sinister killer. This guy has a face you don’t soon forget! St. John gets some solid support from Cristina Galbo, Femi Benussi, Eduardo Fajardo and George Hilton. An extremely satisfying Giallo!

WHAT HAVE YOU DONE TO SOLANGE? (1972)

Directed By: Massimo Dallamano

Massimo Dallamano only directed 12 films but he certainly has an interesting resume! The voyeuristic Venus in Furs, his sex-infused interpretation of Dorian Gray and his other brilliant Giallo What Have They Done to Your Daughters? But I am all about the What Have You Done To Solange? Twists and turns, shocking revelations, an outstanding finale and of course a bevy of beautiful ladies! The cinematographer is Joe D’amato who directed Antropophagus. D’amato’s work in this film is quite impressive. The great Ennio Morricone does the score and adds a perfect moody tension. An intriguing, sexy, enthralling mystery.

THE CASE OF THE BLOODY IRIS (1972)

Directed By: Giuliano Carnimeo

I’m not very familiar with Guiliano Carnimeo’s work. He has directed a lot of Westerns; a genre in which I still have much to discover. I have seen only Fistful of Lead with George Hilton, which I enjoyed. The Case of the Bloody Iris illustrates why you shouldn’t move into an apartment where someone was murdered. Why don’t they ever learn? Another one starring the lovely and charismatic Edwige Fenech. A multitude of red herring and one of the wackiest bunch of oddball characters I’ve ever seen in a Giallo. Finding out how this bunch of bananas fit into the puzzle is a ton of fun. The Case of the Bloody Iris is a stylish, quirky, suspenseful Giallo!